Difference between revisions of "Gérard Thibault d'Anvers"

Gérard Thibault d'Anvers
Gérard Thibault d'Anvers
Born	1574
Died	1629
Occupation	Fencing master
Nationality	Dutch
Movement	La Verdadera Destreza
Influences	Jerónimo Sánchez de Carranza ; Luis Pacheco de Narváez ;
Genres	Fencing manual
Language	French
Notable work(s)	Academie de l'Espée (1630)

Revision as of 21:06, 23 March 2021

Gérard Thibault d'Anvers (ca. 1574–1629)^[1] was a 17th century Dutch fencing master and author of the 1628 rapier manual Academie de l'Espée, one of the most detailed and elaborate sources ever written on fencing. Details about Thibault's life are sparse and what we know is based on his book and his album amicorum.^[2] The latter contains handwritten notes and celebratory poems from Thibault's friends, relatives, pupils, and colleagues, included among whom are several contemporary fencing masters.^[3]

Thibault was born in or around 1574 in Antwerp, son of Hendrick Thibaut and Margaretha van Nispen.^[4] Although his father used the surname "Thibaut," Gérard used the French form "Thibault."^[4] Hendrick Thibaut came from a well-known family in Ypres, living in Ghent and Antwerp before going into exile in the northern Netherlands.^[4] Henrick's eldest son, Christiaen, founded the noble family Thibaut van Aegtekerke.^[5]

Thibault first studied swordsmanship in Antwerp under Lambert van Someron, who taught between the years of 1564 and 1584.^[6] In 1605, Thibault was a wool merchant in Sanlúcar de Barrameda, south of Seville on the Guadalquivir river, and the hometown of Jerónimo Sánchez de Carranza.^[2] There, he took an interest in swordsmanship, studying the Spanish rapier system of Destreza.^[2]

Thibault left Spain to return to the Netherlands, and was in Amsterdam as early as 1610.^[2] In or around 1611, he presented his system to an assembly of Dutch masters at a competition in Rotterdam.^[7] Thibault won first prize, earning an invitation to the court of Prince Maurice of Nassau, where the Prince observed Thibault's system in a multi-day demonstration.^[6]

Although initially met with skepticism, Thibault convinced his fellow Dutch fencing masters, including Johannes Damius of Haarlem, Dirck van Stervergen of Leiden, Cornelis Cornelisz van Heusden of Amsterdam, and Thibault's former teacher Lambert von Someron.^[6] In 1615, Thibault was invited to the court at Cleves and left Amsterdam, where he once again demonstrated his system successfully.^[8] Over the next several years, Thibault traveled from Cleves, Amsterdam, to Spain, back to Amsterdam, and finally to Leiden in 1622.^[9] There, Thibault studied mathematics at Leiden University.^[10] It is unclear whether Thibault taught his system at the university.^[10] It is during his time in Leiden that Thibault likely began working on Academie de l'Espée and employed a team of sixteen master engravers.^[11]

Thibault died in 1629, a year before his masterpiece was finally published (despite the date on the title page of 1628, it was not published until 1630).^[12]

Treatise

The Academie de l'Espée (1630) is presented in two books. Book 1 consists of a short introduction, populated with plates showing the coats of arms of several nobles who were prominent in and around the court of the low countries at the time he wrote this book, and then introduces training in the use of his system of swordplay.

Thibault, although he does not explain until Plate 8, uses the term estocade to describe a thrust to the near, right side, and the term imbrocade to describe a thrust to the far, left side, from the Italian terms stoccata and imbroccata. English has a single term thrust to mean either, but did borrow the Italian term imbroccata to specifically refer to the latter type of thrust.

Plate I begins with a long philosophical discussion of his worldview. It is a good insight into the late Renaissance worldview relating mathematics and Christian religious beliefs to an idealized human figure. It then explains how to construct his Mysterious Circle. This includes a lengthy discussion of how the circle relates geometrically to the ideal body size, based on Vitruvius, and notes about how the lines and crossing points of the circle will be used. This is the basic reference diagram for the entire system. It also includes explanations of how to measure for the correct sword size for any given person, and some explanation of why this is so, and some introductory explanation of appropriate ranges for swordplay.

Plate II compares his ideal body measurements against a figure by Albrecht Durer. Part 2 discusses his ideal sword scabbard and how to construct and wear it.

Plates III & IV deal with how to properly draw a sword and how to approach an adversary.

Plate V introduces his fighting system. First, how to deal with feints (typical of the schools of the time) and defend against typical thrusts.

Plate VI introduces several basic concepts. The importance of maintaining contact between swords, not typical of schools of the time, and the basic steps to close with and thrust into an opponent. The first steps show the attack as if he were to make no defense. Then he assumes the opponent will try to disrupt the attack, and discusses how to deal with interruptions if they occur at various points during the movement.

Plate VII introduces an opponent using circular disengagements and counterthrusts to disrupt an attack, and how to counter them.

Plate VIII introduces the imbroccata attack against the left side and exercises to counter them when they occur at various stages of the attack.

Plates IX & X introduces the idea of blade control and resistance using various degrees of force which can be applied against the blade to parry an attack. He defines several increasing degrees of pressure and introduces exercises to learn to distinguish them, and how to counter parries by force. His recommendation to pursue a course of study, rather than master all the lessons from Plate IX to XIII before begining to practice the exercise in Plate XV, where he introduces attacking to the right hand side, but for practical training, to pair up the lessons of attacks to the outside line with those to the inside line. That is, do the exercises from Plate IX then Plate XV, Plate X with Plate XVI, and so on, practising each in turn. This way, the student learns to fight to both left and right hand side while acquiring increasing skills and ability.

Plate XI continues the exploration of how to deal with different degrees of force against the blade.

Plate XII shows how to create an angle between blades to move in against the opponent

Book 2 lacks an explanation of the complex frontspiece, and was incomplete at the time of his death, but what he does have shows how to use his style against other systems and weapons then in use, including shields, longsword, and firearms.

The plates uploaded to WikTenauer are sufficient to follow the text, but if anyone wishes to see very high definition images, they can be found on www.geheugenvannederland.nl. Search on Girard Thibault.

Illustrations	Translation by Bruce G. Hearns	Transcription by Bruce G. Hearns
	Academy of the Sword by Girard Thibeault of Antwerp, wherein is demonstrated by means of mathematical rules, upon the foundation of the mysterious Circle, the Theory and Practise of the true and, until present, unknown secrets of the handling of arms both on foot and on horseback. M.DC.XXXVIII (1628)	Academie de L'ESPÉE de Girard Thibault d'Anvers ou ſe demonſtrent par Reigles mathematiques ſur le fondemont d'un Cercle mysterieux la theorie et pratique des vrais et iuſq'a preſent incognus ſecrets du maniement DES ARMES a Pied et a Cheval. M.DC.XXVIII
	In tranquil reason, not impatient in his work, leads us courageously along his meandering path. Gerard Thibault of Antwerp Rejoice. Patience endures.	TRANQVILLA RATIO, NEC SVI IMPATIENS LABOR, MODUM EVAGANTI PRÆSTRVIT FEROCIÆ. Gerard Tibault d'Anvers Gaudet Patientia duris
	To the valliant heart, nothing is impossible. Arms and sundry titles of George William (1595 – 1640) of the House of Hohenzollern, Elector of Brandenburg and Duke of Prussia from 1619.	Au coeur vaillant rien n'est impossible Serenissimo Principi ac Domino Domino Georgio Guilermo Marchioni Brandenburgensi S. Romani imperii Archicamerario et Electori; Borussiæ, Iuliæ, Cliviæ, Montium Stetini, Pomeraniæ, Cassubiorum, Vandalorum et in Silesia Crosnæ, Carnovi, æ’que Duci Burggravio Norimbergensi Principi Rugiæ. Comiti Marchiæ, ac Ravensbergi. Dynatæ Ravenstein y, &c.
	Work well without pause, and the hours pass quickly. Arms and sundry titles of Johan Sigismund (1572 – 1619), Elector of Brandenburg (1608 – 1619) of the House of Hohenzollern, Elector of Brandenburg from 1608 and Duke of Prussia, through his wife Anna, from 1618.	Fais biens sans demeure, et peu de temps se passe l’heure Serenissimo Principi ac Domino Do. Io. Achimo Sigismundo. Marchioni Brandenburgensi, Borussiæ, Iuliæ, Cliviæ, Montium Stetini, Pomeraniæ, Cassubiorum, Vandalorum, et in Silesia Crosnæ, Carnoviæ ‘que Ducter
	Everything with God, Nothing without Reason. Arms and title of Christian (the Elder) (1566 - 1633), Duke of Brunswick and Lunenbourg.	Tout Avec Dieu, Rien Sans Raison Serenissimo Principi ac Domino Domino Christiano Duci Brunswicensi et Lunenburgensi
	(Order of the Garter about the arms – Shame to him who evil thinks) I maintain Arms and titles of Maurice of Nassau (1567 - 1625), who became Prince of Orange in 1618.	(Order of the Garter about the arms – Honi soit qui mal y pense) Ie Maintiendray Ilustrissimo Heroi Muritio Principia Auraico, Comiti Nassoviæ, Cattimeliboci, Viandæ, Diestii, Lingæ, Mursiæ, Bueræ, Leerdami, &c. Marchioni Veriæ, ac Frissinge Baroni Bredæ. Civitatis Graviæ, ac ditionis Cuyckiæ, Herrstas, Cranendonc, Warneston, Arlaii, Svti Viti. Daesburgi &c. Vicecomiti Hæreditario Antwerpiæ, et Bizantii &c. Gubernatoi Geldriæ, Hollandie,, Lelandiæ, Westfrisiæ Zutphaniæ, Ultraiecti, Transisalaniæ, Groninge et Omlandiæ; Summo earundem Provinciarum terra mario, misitiæ Duci
	Of the homeland. With the homeland. Arms and titles of Frederick Henry (1584 - 1647), Prince of Orange (1625-1647)	Patriæ. Patrique Illustrissimo Principi ac Domino D. Frederico Henrico Principi Auraico. Comiti Nassoviæ, Dominio Geertrudis-bergæ, utriusque Swaluæ, Naeldwici. Marischalco Hæreditario Hollandiæ, Unitarum Provinciarum Equitum Præfecto Generali &c.
	Constant Arms & titles of Ernest Casimir (1573-1632), Count of Nassau-Dietz (1606-1632)	Constant Illust[rissi]mo Principi Ernesto Casimiro Comiti Nassoviæ, Catimeliboci, Viandæ, Dies Rii; Domino Bilsteiniæ, Castrorum Unitarum Provenciarum Praefecto; Gubernatori Frisiæ &c.
	God and all Dedication and Arms of Simon VII (1587-1627), Count of Lippe (1613-1627), and his brother Otto (1589 – 1657), Count of Lippe-Brake (1621-1657)	Deo et Cunctis Generosis vere’q Germanis Fratribus, Simoni et Otthoni, Comitibus et Nobisibus Dominis de Lippia
	Nothing without God Arms of Stephan Gans, Baron Putlitz	Rien sans Dieu Nobilissimo, Generosissimoq; Heroi Domino Stephano Gans, Libero Baroni PotlitzI, Nec non Wolffshagiæ, turmæ equestris sub ductu et moderamine Illustrissimi Principis Auraici præfecto
	Arms of Louis XIII Louis de Bourbon, called the Just, by grace of God, most-Christian King of France and Navarre, thirteenth of this name. 1628	LOVIS DE BOVRBON DICT LE IUSTE PAR LA GRACE DE DIEV TRES-CHESTIEN ROY DE FRANCE ET DE NAVARRE. TREIZIESME DE CE NOM 1628
	To the most august, most high, most powerful, high, magnficent Emperors, Kings, Princes, Dukes, Counts, and all other Lords and noble Teachers and Amateurs, of the most noble science of handling Arms	Aux tresauguste, treshaults, trespuissants, tresillustres, hautes, magnfiques, Empereur Roys Princes Ducs Comtes et touts autres seigneurs et nobles Fauteurs & Amateurs de La tresnoble science de manier les armes
		In nob. Et eximii viri D. GERARDI THIBAULTII Gladiatoriam artem, symbolo ac praemio ab illustrissimo principe Mavritio à Nassau, &c. Donatam. Inter ſe geminas ferro concurrere dextras, Fortuna ſuerat, nunc erit artis opus. Nam hoc Roma parens, quamuis Mauortia, non hoc Lećtorem docuit Gratia tota ſuum. Temporibus noſstris, ipſa ſe teſte, vetuſtas Vincitur, & faſſas dat ſupera manus; Artis inops: totus quam dum confiderat orbis, Tyronem unius ſe videt eſſe viri. Hanc rude donatus Veianius ineret arenam. Intrata eſt numquam dicet arena mibi. Trecius au debit cum Myrmillone ſub armis Stare, nec hic illi jam metuendus erit. Hanc Samnis teneat, teneat qui prouocat, artem; Ignauo neuter ſanguine tinget hamum. Hanc colit, hac noſstrum Thibautius imbuit auum, Hanc nondum genitis nobile donat opus. Nec negat hoc Martis ſoboles Naſſovius Heros, Et jam victori præmia certa dedit: Inſtrućtorque operis, plauſuque opibusque parenti Adfuit, & partem vindicat ipſe ſibi. Quælibet arguto peragenda eſt judice cauſa: Hac à non victo Pricipe palma datur. D. Heinsius
	GRANT OF PRIVILEGE BY THE KING OF FRANCE By grace and privilege of the King, it has been permitted and granted to Gerard Thibault native of Antwerp, to print, sell, and distribute the present book and figures, in such character and volume as to him seems fit, in all the Kingdoms, lands, and holdings of his Majesty during a period of nine years counting from the day he shall have it printed, with all protections from all persons of whatever quality and condition they may be, to sell and distribute the said book, in part or portion thereof, whether a lithograph, woodcut, etched plate, stolen or counterfeit, or to sell the said figures alone or with summary of what they represent, either separately or jointly, on pain of contravention of loss of goods and five thousand pounds fine, half applicable to his Majesty, and the other to the said Thibault; who, moreover carries full letters to this effect, given in Paris, the XXI Day of December, in the year of grace one thousand six hundred and twenty and in fourth of the reign of the said King. Signed by the King in his Council and sealed with the great seal of his Majesty in yellow wax on a ribbon.	EXTRAICT DU PRIVILEGE DU ROY DE FRANCE Par grace & privilege du Roy, il a eſté permis & oćtroyé à Gerard Thibault natif d'Anvers, d'imprimer vendre & debiter le preſent livre & figures, en tel charaćter & volume que bon luy ſemblera, par tous les Royaumes pays terres & Seigneuries de ſa Majeſté, pandant le temps de neuf ans à compter du jour qu'il ſera achevé d'imprimer: avec deffences à toutes perſonnes de quelque qualité & condition qu'ils ſoyent, de vendre & debiter ledićt livre part ou portion d'iceluy, avec leſdites figures ſeuls ou ſans icelles, ſoit taille douce, de bois, d’eau forte, de le pocher ou contrefaire, ou vendres leſdites figures ſeules ou avec ſomaire de ce qu'elles repreſentent, ſoit ſeparemant ou conjoinćtment, ſur pene au contrevenant de perte des exemplaires, & de cincq mille livres d'amande; moitie applicable à ſa Majeſté, & l'autre audićt Thibault; comme plus a plein eſt porté aux lettres ſur ce obtenues, données à Paris le XXI. Jour de Decembre, l'an de grace mil ſix cent vengt, & du regne du dićt Seigneur le quatieſme. Seignées par le Roy en ſon Conſeil Perrochet, & ſcellees du grand ſeau de ſa Maieſté en cire jaune à queue pendant.
	PRIVILEGE The Estates General of the United Provinces of the Netherlands, have consented and granted, and do consent and grant to the named Gerald Thibault, that be during the time of next thirty years to come, alone in these united Lands, affiliated lands and towns, full rights and privileges that he may print, sell, and distribute this treatise, engravings, instructions, knowlege, & exercises entitled “Academie de GIRARD THIBAULT d'Anvers, ou ſe demonſtrent d'un cercle mysſterieus la theorie & praćticque des vrais, & juſtes à preſent ingcognus ſecrets du maniement de Armes à pied & à cheval.” Forbidding one and all within the jursdiction of these lands, to offer for sale copies of the aforesaid book for the aforsaid time of thirty years, directly or indirectly, in whole, or in part either greater or lesser, neither the imprint, nor the engravings, nor the explanations of the engravings. Upon pain of forfeture of all copies and payment of a fine of the sum of nine hundred guilders. One third part thereof to be given to the officer who performed the arrest, the second third to the watchmen, and the remaining third to the aforesaid Girardo Thibault. Given in Graven-Hague this fifth of June Sixteen-Twenty-Seven. Gaspar van Vosgbergen. By order of the President of the Estates-General. I. van GOCH.	PRIVILEGIE De Staten Generael der Vereenighde Nederlanden, hebben gheconſenteert ende gheoćtroyeert, conſenteren ende oćtoyeren by deſen d'erfghanamen van Giraldo Thibault, dat ſy gheduerende den tijdt van dertich eerſt-ckomende Iaren, alleene in deſe vereenighde Landen, gheaſſocieerde Landtſchappen ende Steden, ſullen moghen Drucken, doen Drucken, ende uytgheven ſeeckere Wapen-kunſt, beſtaende in Figuren, met regulen, aenwijſinghen ende leer-ſstucken, gheinſituleert Academie de GIRARD THIBAULT d'Anvers, ou ſe demonſtrent d'un cercle mysſterieus la theorie & praćticque des vrais, & juſtes à preſent ingcognus ſecrets du maniement de Armes à pied & à cheval. Verbiedende allen ende een yeghelijck Ingheſetenen van deſe Landen, de voorſchreven Wapen-konſte binnen den voorſchreven tijdt van dertich Iaren, direćtelijck ofte indirećtelijck, in't geheel, ofte ten deele, in't groot oſte in't kleyne, na te Drucken, ende uyt te gheven, oſte elders na ghedruct, hier te Lande te brenghen om verkoſt te werden, by verbeurte van alle de na-ghedruckte exemplaren, ende daer-en-boven van de ſomme van neghen hondert guldens; 'tappliceren een derdendeel daer van ten behoeve van Officier die de calangie doen ſal, het tweede derdendeel ten behoeve van de armen, ende het reſterend derdendeel ten behove van de voorſchreven erfghenamen van Girardo Thibault. Ghedaen in s'Graven-Haghe op den vijfden Iunij ſeſthein-hondert ſeven en twintich. Gaſpar van Vosberghen Vt. Ter ordonnantie van de Hooch-ghemelte Heeren Staten Generael. I. van GOCH
	NOTICE CONCERNING the figures of this book.	AVERTISSEMENT SVR LA CONSI- deration des figures de ce livre.
	Because the reader shall find it strange that many of the images are not placed upon the ground, but are above or below the horizon, we think it best they be conceived of as paintings upon the walls; this being because of the unequal circles above the horizon compared to the ground, and for more convenient representation of the doctrine, & for easier intelligbility in a manner which does not extend perspectives. Thus in Plate 3, high on both sides, we see 4 men painted on the walls, & in Plate 5 there are four pieces in the form of paintings in the middle of the masonry wall each with its own appropriately-sized circle. In Plates 6, 16, 21, 22, 25, & 28 we find painted canvasses & murals on the sides, and on the lower parts of the walls. In Plates 7 & 27 we understand they are made in the form of charts. In Plate 19, a tapestry hangs in the middle, in which the doctrines are embroidered. The Plates 5, 8, 14, 17, 18, 20, 22, 25, 26, 27, 28, & 29 likewise have painted walls, but the most important parts are shown alive on the ground or as painting on the wall base, because we have put there the means to see how the position of the swords relates to the lines of the Circle in the form of shadows on the lower line or base. We can see the positions of the blades, on the ground of the circle, by which means the capability to work out the movements of the swords the figures have in their hands becomes quite easy.	Pource que le ſpećtateur trouveroit eſtrange, que pluſieurs Images ne ſont fixement poſées ſur le fondement, taut au deſſus qu'au deſſoubs de l'Horiſon: nous avons touvé bon de l'advertir, qu'il les faut concevoir comme eſtant deſpeintes aux murailles; cela eſtant fait à cauſe des Cercles inegaux tant au deſſus de l'Horiſon que ſur le plan, pour la repreſentation plus commode de la doćtrine, & pour l'intelligence plus facile du commun qui n'entend les perſpećtives: ainſi au Tableau 3. au deſſus d'un & d'autre coſté ſont deſpeints 4. hommes aux parois, & en la Table 5. il y à quatre pieces en forme de peinture au millieu de la muraille ou maſſonerie, deſquels Cercles chaſcun ſuſſit pour ſoy, & es Tables 6. 16. 21. 22. 25. & 28. au millieu des toilles peinturées, & au coſtez ſont deſpeintes à la paroy, es Tables 7. & 27. faut entendre que cela eſt fait en forme de chartes, & en la Table 19. un tapi tendu ou pendu au millieu, dans leſquel les doćtrines ſont tiſſues, & es Tables 5. 8. 14. 17. 18. 20. 22. 25. 26. 27. 28. 29. de meſme deſpeint aux murailles, mais les premieres pieces ſe demonſtrent plus vivement ſur le fond ou baſe que les autres, car la ſe voit la façon des accords des eſpées & leur operation par les lignes du Cercle; pour ce que en forme d'Eſquierre de la ligne Inferieure ou baſe, on trouve un accord des lames, fait au fond ou Cercle, par lequel le jugement des operations mouvantes des eſpées que les figures tiennent en main, eſt rendu tres-facile.

Main article: Gérard Thibault d'Anvers/Plates 1-11

Main article: Gérard Thibault d'Anvers/Plates 12-22

Main article: Gérard Thibault d'Anvers/Plates 23-33

For further information, including transcription and translation notes, see the discussion page.

Work	Author(s)	Source
Images	courtesy of Reinier van Noort	Thibault.zip
Translation	Bruce G. Hearns	Wiktenauer
Transcription	Bruce G. Hearns	Wiktenauer

Additional Resources

Howden, Matthew. "Comparison of Thibault’s Circle and the Leiden Circle". Sworded Contemplations. April, 2008. Retrieved 08 February 2015.
Majár, János and Zoltán Várhelyi. "Thibault and Science I. Measure, Distances and Proportions in the Circle". Acta Periodica Duellatorum 2(1): 67-104. 2014. doi:10.1515/apd-2015-0014.
Thibault, Gérard. Academy of the Sword. Trans. John Michael Greer
- 1st edition. Highland Park, TX: Chivalry Bookshelf, 2006. ISBN 978-1891448409
- 2nd edition. London: Aeon Books, 2017. ISBN-978-1-190465-884-9

References

↑ de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.288, 297
↑ ^2.0 ^2.1 ^2.2 ^2.3 de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.289
↑ de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.297
↑ ^4.0 ^4.1 ^4.2 de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.288
↑ de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.288-289
↑ ^6.0 ^6.1 ^6.2 de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.290
↑ de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.289-290
↑ de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.294
↑ de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.294-296
↑ ^10.0 ^10.1 de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.296
↑ de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.296, 310
↑ Thibault, Gérard. Academy of the Sword. Trans. John Michael Greer. Highland Park, TX: The Chivalry Bookshelf, 2006. pp 1-2.

[1] Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.288, 297

[Verwey.2C_Herman_Fontaine_1978_p.289-2] 2.0 ^2.1 ^2.2 ^2.3 de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.289

[3] Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.297

[Verwey.2C_Herman_Fontaine_1978_p.288-4] 4.0 ^4.1 ^4.2 de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.288

[5] Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.288-289

[Verwey.2C_Herman_Fontaine_1978_p.290-6] 6.0 ^6.1 ^6.2 de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.290

[7] Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.289-290

[8] Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.294

[9] Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.294-296

[Verwey.2C_Herman_Fontaine_1978_p.296-10] 10.0 ^10.1 de la Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) p.296

[11] Verwey, Herman Fontaine. "Gerard Thibault and his Academie de l'Espée," Quaerendo VIII (1978) pp.296, 310

[12] Thibault, Gérard. Academy of the Sword. Trans. John Michael Greer. Highland Park, TX: The Chivalry Bookshelf, 2006. pp 1-2.

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Difference between revisions of "Gérard Thibault d'Anvers"

Revision as of 21:06, 23 March 2021

Contents

Treatise

Book 1 - Introduction. Arms of Patrons and supporters of Thibault

Book 1 - Tableau / Plates I - XI

Book 1 - Tableau / Plates XII - XXII

Book 1 - Tableaux / Plates XII - XXII

Copyright and License Summary

Additional Resources

References

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 Plate VIII introduces the imbroccata attack against the left side and exercises to counter them when they occur at various stages of the attack.
-Plates IX & X introduces the idea of blade control and various degrees of force which can be applied against the blade to parry an attack. He defines several increasing degrees of pressure and introduces exercises to learn to distinguish them, and how to counter parries by force.
+Plates IX & X introduces the idea of blade control and resistance using various degrees of force which can be applied against the blade to parry an attack. He defines several increasing degrees of pressure and introduces exercises to learn to distinguish them, and how to counter parries by force. His recommendation to pursue a course of study, rather than master all the lessons from Plate IX to XIII before begining to practice the exercise in Plate XV, where he introduces attacking to the right hand side, but for practical training, to pair up the lessons of attacks to the outside line with those to the inside line. That is, do the exercises from Plate IX then Plate XV, Plate X with Plate XVI, and so on, practising each in turn. This way, the student learns to fight to both left and right hand side while acquiring increasing skills and ability.
 Plate XI continues the exploration of how to deal with different degrees of force against the blade.
@@ Line 83: / Line 83: @@
 Book 2 lacks an explanation of the complex frontspiece, and was incomplete at the time of his death, but what he does have shows how to use his style against other systems and weapons then in use, including shields, longsword, and firearms.
-The plates uploaded to WikTenauer are sufficient to follow the text, but if anyone wishes to see very high definition images, they can be found on [[http://www.geheugenvannederland.nl/ www.geheugenvannederland.nl]]. Search on Girard Thibault.
+The plates uploaded to WikTenauer are sufficient to follow the text, but if anyone wishes to see very high definition images, they can be found on [http://www.geheugenvannederland.nl/ www.geheugenvannederland.nl]. Search on Girard Thibault.
 {{master begin
   | title = Book 1 - Introduction. Arms of Patrons and supporters of Thibault
-  | width = 60em
+  | width = 90em
 }}
-{| class="wikitable"
+{| class="master"
-! Images
+! Illustrations
 ! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
 ! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
 |- style="font-family: times, serif; vertical-align:top"
 |[[File:Academie de l'Espée Title.jpg|200px]]
@@ Line 124: / Line 124: @@
 |To the valliant heart, nothing is impossible.
-Arms and sundry titles of [[https://en.wikipedia.org/wiki/George_William,_Elector_of_Brandenburg|George William]] (1595 – 1640), Elector of Brandenburg (1619 – 1640).
+Arms and sundry titles of [https://en.wikipedia.org/wiki/George_William,_Elector_of_Brandenburg George William] (1595 – 1640) of the House of Hohenzollern, Elector of Brandenburg and Duke of Prussia from 1619.
 |Au coeur vaillant rien n'est impossible
@@ Line 137: / Line 137: @@
 | Work well without pause, and the hours pass quickly.
-Arms and sundry titles of [[https://en.wikipedia.org/wiki/John_Sigismund,_Elector_of_Brandenburg|Johan Sigismund]] (1572 – 1619), Elector of Brandenburg (1608 – 1619)
+Arms and sundry titles of [https://en.wikipedia.org/wiki/John_Sigismund,_Elector_of_Brandenburg Johan Sigismund] (1572 – 1619), Elector of Brandenburg (1608 – 1619) of the House of Hohenzollern, Elector of Brandenburg from 1608 and Duke of Prussia, through his wife Anna, from 1618.
 |Fais biens sans demeure, et peu de temps se passe l’heure
@@ Line 149: / Line 149: @@
 |Everything with God, Nothing without Reason.
-Arms and title of [[https://en.wikipedia.org/wiki/Christian,_Duke_of_Brunswick-Lüneburg|Christian (the Elder)]] (1566 - 1633), Duke of Brunswick and Lunenbourg.
+Arms and title of [https://en.wikipedia.org/wiki/Christian,_Duke_of_Brunswick-Lüneburg Christian (the Elder)] (1566 - 1633), Duke of Brunswick and Lunenbourg.
 |Tout Avec Dieu, Rien Sans Raison
@@ Line 162: / Line 162: @@
 I maintain
-Arms and titles of [[https://en.wikipedia.org/wiki/Maurice,_Prince_of_Orange|Maurice]] (1567 - 1625), Prince of Orange (1618 – 1625)
+Arms and titles of [https://en.wikipedia.org/wiki/Maurice,_Prince_of_Orange Maurice] of Nassau (1567 - 1625), who became Prince of Orange in 1618.
 |(Order of the Garter about the arms – Honi soit qui mal y pense)
@@ Line 177: / Line 177: @@
 |Of the homeland. With the homeland.
-Arms and titles of [[https://en.wikipedia.org/wiki/Frederick_Henry,_Prince_of_Orange|Frederick Henry]] (1584 - 1647), Prince of Orange (1625-1647)
+Arms and titles of [https://en.wikipedia.org/wiki/Frederick_Henry,_Prince_of_Orange Frederick Henry] (1584 - 1647), Prince of Orange (1625-1647)
 |Patriæ. Patrique
@@ Line 189: / Line 189: @@
 |Constant
-Arms & titles of [[https://en.wikipedia.org/wiki/Ernest_Casimir_I,_Count_of_Nassau-Dietz|Ernest Casimir]] (1573-1632), Count of Nassau-Dietz (1606-1632)
+Arms & titles of [https://en.wikipedia.org/wiki/Ernest_Casimir_I,_Count_of_Nassau-Dietz Ernest Casimir] (1573-1632), Count of Nassau-Dietz (1606-1632)
 |Constant
@@ Line 201: / Line 201: @@
 |God and all
-Dedication and Arms of [[https://en.wikipedia.org/wiki/Simon_VII,_Count_of_Lippe|Simon VII]] (1587-1627), Count of Lippe (1613-1627), and his brother [[https://en.wikipedia.org/wiki/Otto,_Count_of_Lippe-Brake|Otto]] (1589 – 1657), Count of Lippe-Brake (1621-1657)
+Dedication and Arms of [https://en.wikipedia.org/wiki/Simon_VII,_Count_of_Lippe Simon VII] (1587-1627), Count of Lippe (1613-1627), and his brother [https://en.wikipedia.org/wiki/Otto,_Count_of_Lippe-Brake Otto] (1589 – 1657), Count of Lippe-Brake (1621-1657)
 |Deo et Cunctis
@@ Line 213: / Line 213: @@
 |Nothing without God
-Arms of Stephan Gans, [[https://en.wikipedia.org/wiki/Gans_zu_Putlitz|Baron  Putlitz]]
+Arms of Stephan Gans, [https://en.wikipedia.org/wiki/Gans_zu_Putlitz Baron  Putlitz]
 |Rien sans Dieu
@@ Line 225: / Line 225: @@
 |Arms of Louis XIII
-[[https://en.wikipedia.org/wiki/Louis_XIII_of_France|Louis]] de Bourbon, called the Just, by grace of God, most-Christian King of France and Navarre, thirteenth of this name.
+[https://en.wikipedia.org/wiki/Louis_XIII_of_France Louis] de Bourbon, called the Just, by grace of God, most-Christian King of France and Navarre, thirteenth of this name.
@@ Line 341: / Line 341: @@
 |- style="font-family: times, serif; vertical-align:top"
+| class
-|Because the reader shall find it strange that many of the images are not placed upon the ground, but are above or below the horizon, we think it best they be conceived of as paintings upon the walls; this being because of the unequal circles above the horizon compared to the ground, and for more convenient representation  of the doctrine, & for easier intelligbility in a manner which does not extend perspectives. Thus in Plate 3, high on both sides, we see 4 men painted on the walls, & in Plate 5 there are four pieces in the form of paintings in the middle of the masonry wall each with its own appropriately-sized circle. In Plates 6, 16, 21, 22, 25, & 28 we find painted canvasses & murals on the sides, and on the lower parts of the walls. In Plates 7 & 27 we  understand they are made in the form of charts. In Plate 19, a tapestry hangs in the middle, in which the doctrines are embroidered. The Plates 5, 8, 14, 17, 18, 20, 22, 25, 26, 27, 28, & 29 likewise have painted walls, but the most important parts are shown alive on the ground or as painting on the wall base, because we have put there the means to see how the position of the swords relates to the lines of the Circle in the form of shadows on the lower line or base. We can see the positions of the blades, on the ground of the circle, by which means the capability to work out the movements of the swords the figures have in their hands becomes quite easy.
-|Pource que le ſpećtateur trouveroit eſtrange, que pluſieurs Images ne ſont fixement poſées ſur le fondement, taut au deſſus qu'au deſſoubs de l'Horiſon: nous avons touvé bon de l'advertir, qu'il les faut concevoir comme eſtant deſpeintes aux murailles; cela eſtant fait à cauſe des Cercles inegaux tant au deſſus de l'Horiſon que ſur le plan, pour la repreſentation plus commode de la doćtrine, & pour l'intelligence plus facile du commun qui n'entend les perſpećtives: ainſi au Tableau 3. au deſſus d'un & d'autre coſté ſont deſpeints 4. hommes aux parois, & en la Table 5. il y à quatre pieces en forme de peinture au millieu de la muraille ou maſſonerie, deſquels Cercles chaſcun ſuſſit pour ſoy, & es Tables 6. 16. 21. 22. 25. & 28. au millieu des toilles peinturées, & au coſtez ſont deſpeintes à la paroy, es Tables 7. & 27. faut entendre que cela eſt fait en forme de chartes, & en la Table 19. un tapi tendu ou pendu au millieu, dans leſquel les doćtrines ſont tiſſues, & es Tables 5. 8. 14. 17. 18. 20. 22. 25. 26. 27. 28. 29. de meſme deſpeint aux murailles, mais les premieres pieces ſe demonſtrent plus vivement ſur le fond ou baſe que les autres, car la ſe voit la façon des accords des eſpées & leur operation par les lignes du Cercle; pour ce que en forme d'Eſquierre de la ligne Inferieure ou baſe, on trouve un accord des lames, fait au fond ou Cercle, par lequel le jugement des operations mouvantes des eſpées que les figures tiennent en main, eſt rendu tres-facile.
-|}
-{{master end}}
-{{master begin
- | title = Book 1 - Tableau / Plate I - Philosophical Discussion; Construction and Mathematics of the Circle; Concerning the Sword: Proper Length and Introduction.
- | width = 60em
-}}
-{| class="floated master"
-! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
-! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
-|- style="font-family: times, serif; vertical-align:top"
-|Colspan="2"| [[file:Thibault L1 Tab 01.jpg|600px]]
-|- style="font-family: times, serif; font-size: 16pt; vertical-align:top"
-|EXPLANATION OF THE FIRST PLATE
-|DECLARATION DV TABLEAV PREMIER
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;font-variant: small-caps"
-|Contents<br>
-The proportions of the body, their relationship to the dimensions of our Circle, and the proper length of the sword.
-|Contenant<br>
-Les proportions du corps de l'homme, rapportées à la figure de noſtre Cercle; & à la iuſte longeur de l'Eſpée.
-|- style="font-family: times, serif; vertical-align:top"
-|A discourse on the superiority & perfection of man, declaring that his body is comprised of  an exact relationship of Divisions, Weights, & Measurements, having movements that relate to the Circle.
-|Diſcours de l'excellence & perfećtion de l'homme, dećlarant que ſon corps eſt exaćtement compaſſé par Nombres, Poids, & Meſures, ayant des mouvements qui ſe rapportent à la figure Circulaire
-|- style="font-family: times, serif; vertical-align:top"
-|Man is the most perfect and most superior of all the creatures in the world, in which is found, amongst the other marks of divine wisdom, such an exquisite representation of the entire universe, in his whole and in his principal parts, that he has been rightly called by the ancient philosophers “microcosm” which is to say, the small world. For beyond the dignity of the soul, which has so many advantanges above all thats is perishable, his body contains a an abridgement, not only of all that we see down here on Earth, but also that which is in Heaven itself. Representing the whole with a harmony so delicate, so beautiful, and complete, and with such concurrence of Divisions, Measures, and Weights, which relates so marvellously to the virtues of the Four Elements, and to the influences of the Planets, that there is no other like it to be found. That most-perfect number Ten continually appears before his eyes, and in its entirety on his digits; and again in two equal halves on his two hands, on each by the number of 5 digits; which are also unequally partitioned by the thumb and by the rest into One and Four, of which the One is composed of two phalanxes, and each the Four of Three: in such fashion this structure has always in view the first and most beautiful Numbers: 1, 2, 3, 4, 5, & 10, which so many illustrious philosophers, like Pythagoras, and Plato, & all those of their schools, held in such esteem, that they sought hide away and so deduce from them the greatest mysteries of their doctrines. As well, we see in the height, width, and thickness of the human body, which has been so precisely measured, that the greatest Architects, both Ancient and Modern, could concieve of no other thing in the world that would make a better basis for the architectural orders than this model, based on man. In this they saw a divine proportion that God Himself  put into the human body, from which they took their inspiration to build, from that time on, into the architecture of Temples, Theaters, Amphitheaters, Palaces, Towers, Vessels, and all other constructions, some of peace, some of war, not just in the whole, but also reflected in the parts: the columns, the peristyles, capitals, pedistals, and other such parts. Thus we read that the Temple of Salomon, this great adornment and miracle of the flourishing Republic of the Jews, was sized according to this same proportion: and what is more, God Himself commanded the Patriarch Noah, upon building of the Ark, to follow the same rule. So that in each one the length is six times the width, and ten times the depth. This is a proportion for which the numbers are always right in front of our eyes, and can be demonstrated clearly on our fingers, where we are accustomed to learning the earliest lessons in natural arithmetic. For this whole sum, which is 10, when multiplied by 3, makes 30 for the depth; and by 5, makes 50 for the width; and multiplied by 10, and by 3 again, makes 300 for the length. These measurements agree with what several noted Authors wrote concerning the same matter. Vitruvius, amongst others, reported the stature of man to be 6 feet measured geometrically. Divide each foot  into 10 degrees, and each degree into 5 minutes, gives 60 degrees and 300 minutes, echoing exactly the three hundred cubits of the Ark. As much as I do not wish to rest so precisely on Vitruvius' authority and accept his geometrical figure of six feet length; it is enough that we can divide the body into six equal measures. Pliny also notes in book 7, chapter 17, that this natural stature of a well-proportioned man accords exactly with the measure of his own arms from the tips of the fingers on one to the end of the other. In summary, all philosophers have made so much of these measurements, and of the proportions of the human body, and have researched so much in one fashion or another that Pythagoras dared declare man as the Measure of All Things. As to the proportion of weight, we cannot doubt that this was also observed with as much art as the numbers or the measurements. All of which is easy to recognize, because man alone, of all the animals, walks upright; in such fashion he holds himself always in counterweight and in balance in all actions, otherwise he would be constantly inconvenienced. For his structure is such, that as each part (except the arms) is higher from the ground, it also increases more and more in weight; so that the lighter and more fragile parts support the other heavier and more robust parts: which would be against Nature and would make it utterly impossible to continue long, in doing so many kinds of movements as we can see performed by the human body, were this not moderated with regard to weight in all the parts from the top of the head to the soles of the feet, in a singular and perfectly artful way. A more complete discussion of this material belongs to anatomists, whose profession is to discuss the particuliarities of this noble structure. We who seek only to explore that which concerns the use of weapons, shall be content to discuss some generalities, notably about the external proportions, so that it shall be much easier to judge the nature and reach of each movement, as we proceed. Since the movements are sometimes made with the whole body, sometimes and more usually with just the arms and hands, and other times with the legs and feet, we shall demonstrate presently that men are capable of performing these necessary and useful movements more easily and promptly than other animals do. What one must know that it is ordinarily, and properly, the job of the arms and hands to carry out the actions of our Will, as use or need requires. The legs and feet serve only to move and turn the body, so as to place the arms and hands so they can properly perform the task we wish to perform where we wish to perform it. Furthermore there is this difference, that the arms and legs are especially suited to perform large movements, whereas the feet and hands perform smaller ones; and as the arms are best used in moves that require strength, the hands are best used in work that requires dexterity. The feet, as pillars that support the body, are, almost immobile when the weight is on the heels, but when on the toes, move quite promptly. Because of this difference, the body can stand firmly by means of the one and yet move and turn swiftly and conveniently by means of the other. From heel to toe, the size of the foot gives him a solid and stable base when he stops, and when he moves, helps to push him forward and give him speed. All parts of the hands are quite agile, and contain, in their width, exactly half the width of the face, which is a quarter of the trunk; the length of the hand is two times the width, and if the hand is closed, the contour of the fist is one third the contour of the trunk: and the hand can naturally act as a small shield, held out in front, either open and extended, or firmly closed. This is why the Jewish author Philo is very right to say that, instead of the natural weapons and defenses of other animals, man was blessed with Reason as his Guide, and Hands as Tools to do as Reason wills; and in that Reason is the Hand of Understanding, the Hand of Reason is the Word, and our hands perform as the Word commands.
-Instruments which have within them all the abilities of the other creatures, and are, consequently, at least equal in greatness, if not superior. This is why man comes into the world deprived of all natural weapons either offensive or defensive, and has but this sole instrument of the hand, by which he may prevail over all. The other animals defend and attack their opponent, one with teeth, another with claws, with hooves, with horns; thus it is wth Elefants, Lions, Bears, Horses, Bulls, Tigers, & other beasts, to whom nature gave each one a single type of natural weapon for their own defence, but to Man, who appears deprived, was blessed with Understanding to know things, Wit to forge things, and Hands to use each and every thing that he can create. In the same way so that he could have even greater advantage, nature gave him, as a special privilege, the power to flex his arms behind and his feet in front at the same time, something impossible for other creatures: and also for the same, or possibly similar reason, the arms were placed in such a way as to be always in view and so help and assist more easily the other parts as they need. So just as the above-mentioned Artists, Architects, Perspectivists, & others have tried to prove the foundations of their rules via the proportions of the human body, so have we navigated the same course, but more adeptly, and have found, with the aid of this same compass, the actual and proportional measure of all Movements, of all the Tempos and Distances necessary to observe in our Training: as it shall be demonstrated in a moment in the description of our Circle; where the measurements and proportions of Man are applied to man himself, and to the movements he makes with his own limbs, from where we derive the aforesaid proportion, and without which it is impossible for him to perform the slightest action in the world. In the practice of swordplay, which I have done for several years, in different countries, and with great experts; of which some come from French schools, others from Italian, and, in sum, each in his own way, I have seen people all over accustom themselves to strange postures, body twisted, feet and hands disjointed out of all natural positions, and in postures inconsistent with the ordinary way in which we walk or stand: such that, instead of evoking through these contortions some sort of power, it impairs and minimizes one's own strength, rather than producing the intended effect. Thus, considering closely, and knowing that in other cases all Arts follow Nature, without ever contravening her, I have chosen to conduct our Training within the same school as this Sovereign Mistress of all good inventions. About which I said at first, that all the Distances and Instances (i.e. steps in the process of fighting) to be observed in training (which are the basic foundations and support for all the following parts) proceed from the proportions of Man, therefore without this same awareness, they cannot be duly comprehended, nor practiced with confidence.
-And the same goes for the Steps and Approaches, short and long, required by the variety of positions  in the performance of these Exercises. From which it is apparent that one must begin with a good knowledge of the proportion of limbs and body parts, that one may at least be able to make some reasonable judgement on the reach of each movement, proportionally to the limb, or limbs, on which the movement depends, and from which it must be continued, ended,  turned, returned, released, bound, or changed in a thousand different ways.
-|L'homme eſt la plus parfaite & la plus excellente de toutes les Creatures du Monde; auquel ſe trouve, parmy les autres marques de la ſageſſe divine, une ſi exquiſe repreſentation de tout l'Vnivers, en ſon entier & en ſes principales parties, qu'il en a eſté appellé à bon droit par les anciens Philoſophes Microcoſme, c'eſt à dire, le Petit Monde. Car outre la dignité de l'ame, qui a tant d'avantages par deſſus tout ce qui eſt periſſable, ſon corps contient un abbregé, non ſeulement de tout ce qu'on voit icy bas en terre, mais encores de ce qui eſt au Ciel meſme; repreſentent le tout avec une harmonie, ſi douce, belle, & entiere, & avec une ſi juſte convenance de Nombre, Meſures, & Poids, qui ſe rapportent ſi merveilleuſement aux vertus des Quatre Elements, & aux influences des Planetes, qu'il ne ſ'en trouve nulle autre ſemblable. Le tres-parfait nombre de Dix luy eſt continuellement repreſenté devant les yeux, en ſon entier ſur ſes propres doigts; & derechef en deux moitiez egales ſur ſes deux mains, à chaſcune par le nombre de Cinq doigts; qui ſont derechef partis inegalement par la poulce, & par le reſte en Vn & Quatre, dont l'Vn eſt compoſé de Deux articles, & les Quatre de Trois: de façon que ceſte ſtructure luy met touſiours en veuë les premiers & plus excellents Nombres 1. 2. 3. 4. 5. 10. dont tant d'Illuſtres Philoſophes, comme Pythagoras, & Platon, & tout ceux de leurs Eſcholes, on fait tant d'eſtime, qu'ils y ont voulu cacher, & en deduire les plus grands myſteres de leur doćtrine. En outre on voit auſi en la longeur, largeur, & eſpeſſeur de ce meſme corps, que les meſures y ſont ſi jusſtement obſervées, que les plus grands Architećts Anciens & Modernes n'ont ſcue choiſir aucune choſe au Monde plus propre pour leur ſervir de regle, ſelon laquelle ils deuſſent former les ordonnances de leurs ouvrages, que ce ſeul patron de l'homme; auquel ils ont remarqué une perpetuelle proportion gardée de Dieu meſme en la fabrique du corps; laquelle ils ont prinſe en exemple, pour façonner à l'advenant les Architećtures des Temples, Theatres, Amphitheatres, Palais, Tours, Vaiſſeaux, & autres Instruments, ſoit de paix, ſoit de guerre, non ſeulement en leur entier, mais auſi en chaſcune des principales parties, Colomnes, Poſteaux, Chapiteaux, Piedeſteaux, & autres membres ſemblables.
-Ainſi lit on, que le Temple de Salomon, ce grand ornement & miracle de la Republique floriſſante de Iuifs, a eſté compaſſé ſelon ceſt meſme proportion: Et qui plus eſt, que Dieu meſme auroit commandé au Patriarche Noë, en baſtiſſant l'Arche, d'enſuivre la meſme regle. Car tout ainſi que le corps de l'homme contient 300 minutes en longeur; 50 en largeur; & 30 en eſpeſſeur par le milieu de la poitrine: auſſi pareillement l'ordonnance de l'Arche a eſté faite à 300 coudées de longeur; 50 de largeur; & 30 de hauteur: de ſorte qu'en l'un & en l'autre la longeur eſt ſix fois autant que la largeur, & dix fois, que la profondeur. Qui eſt une proportion, donc nous avons touſjours devant nos yeux les nombres, & les pouvons nous demonſtrer clairement ſur nos doigts, où nous avons couſtume d'apprendre les premieres leçons de l'Arithmetique naturelle.
-Car la ſomme entiere, qui en eſt 10, eſtant multipliée par 3, fait 30 pour l'eſpeſſeur; & par 5, fait 50 pour la largeur; & multipliée par 10, avec le redouble de 3, fait 300 pour la longeur. Et à ces meſures s'accorde auſſi ce que pluſieurs graves Auteurs eſcrivent en touchant la meſme matiere: comme entre autres, que Vitruve a rapporté la ſtature de l'homme à 6 pieds de meſure Geometrique; le pied à 10 degrez; & chaſque degré en 5 minutes; qui font 60 degrez, & 300 minutes, retirants juſtement aux trois cents coudees de l'Arche.
-Combien que je ne veuille pas m'arreſter ſi preciſement ſur l'authorité de Vitruve, à luy donner ſix pieds Geometriques de longeur; ce m'eſt aſſez qu'on la puiſſe partir en ſix meſures égales. Pline remarque auſſi livre 7. chapitre 17. que ceſte ſtature naturelle de l'homme bien proportionné s'accorde exaćtement à measure de ſa propre braſſee, depuis le bout des doigts de l'une des mains juſques au bout de l'autre. En ſomme touts Philoſophes ont fait tant d'eſtime de ceſte meſure, & de la proportion de ce corps humain, & l'ont tant recerchée, les uns d'une façon, les autres de l'autre, que Pythagoras a oſé nomme l'homme La Meſure de tout. Quant à la proportion des Poids, il ne faut pas douter, qu'elle n'y ſoit auſſi obſervée avec tout autant d'artifice, que les Nombres, ou les meſures. Ce qui eſt aiſé à cognoiſtre, par ce qu c'eſt l'homme ſeul de touts les animaux qui marche droit; de façon qu'il ſe tient touſiours en contrepoids & en balance en toutes aćtions, autrement il en ſeroit à touts moments incommodé.
-Car ſa ſtrućture eſt telle, que touts ſes membres (exceptez le bras) à meſure qu'ils ſont plus relevez de la terre, auſſi ſont ils plus peſants de plus en plus; ſi que les parties plus legeres & plus foibles ſoutiennent les autres plus peſantes & plus robuſtes: qui ſeroit choſe contre Nature & du tout inſupportable pour continuer longuement, en tant & en ſi diverſes ſortes de mouvements, comme on voit que ce corps humain pratique, s'il n'eſtoit moderé au regard du Poids en toutes ſes parties depuis le ſommet de la teſte juſqu'aux plantes des pieds, d'un ſingulier & parfait artifice. La declaration plus ample de ceſte matiere appartient aux Anatomiſtes, qui font profeſſion de declarer les partiularitez de ceſte noble ſtrućture: nous qui ne pretendons que d'en expoſer ſeulement ce qui touche l'exercise des Armes, ſerons contents d'en declarer quelques choſes en gros, notamment touchant les proportions exterieures; afin q'il ſoit par cy apres d'autant plus facile à juger de la nature & portee de chaſcun des mouvemēts, qui en procedent. Puis donc que les mouvements ſe font quelques fois avec le tronc entier du corps, quelquesfois & plus ſouvent avec les bras & les mains, & autres fois avec les jambes & les pieds, nous demonſtrerons preſentement, que les hommes ſont capables d'exploiter leurs movemēts neceſſaires & utils en plus grand nombre & plus aiſeement & plus promptement, que ne font les autres animaux. Dont il faut ſçavoir, que c'eſt ordinaire & proprement l'office des bras & des mains d'executer le commandement de la volonté, en faiſant les aćtions que l'utilité ou la neceſſité demande; & que les jambes & les pieds ne ſervent communement à autre choſe, au'à tranſporter et à tourner le corps, & à mettre le bras & mains en places, où la Volonté pretend quel execution ſoit fait: & d'avantage qu'il y a ceſte difference, que les bras & les jambes ſont ſpecialement propres à faire les grands mouvements, ainſi que les pieds & les mains ſont propres aux moindres: & comme les bras ſont particulierement capables à executer ce où il faut de la force, ainſi les main le ſont d'autrepart pour travailler avec dexterité. Les Pieds, comme pilliers qui ſouſiennent le corps, ſont devers les talons quaſi immobiles, mais devers les orteils ils ſe mouvent aſſez promptement: de ſorte quepar l'inegalité de ceſte ſtrućture le corps ſe peut affermir deſſus, au moyen de l'un, comme il ſe peut d'autrepart remuer & tourner viſtement & commodement de touts coſtez, au moyen de l'
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 {{master begin
-  | title = Book 1 - Tableau / Plate X - More on parries by force.
+  | title = Book 1 - Tableau / Plates I - XI
   | width = 60em
 }}
-{| class="floated master"
+{{main|Gérard Thibault d'Anvers/Plates 1-11}}
-! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
-! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
-|-
-|Colspan="2"|[[file:Thibault L1 Tab 10.jpg|600px]]
-|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
-|EXPLANATION OF THE ACTIONS IN THE TENTH PLATE
-|DECLARATION DES OPERATIONS DV TABLEAV DIXIEME
-|- style="font-family: times, serif; vertical-align:top;"
-|If it was not terribly apparent in the previous Plate just how vitally important a sense of feel is, it will be come quickly apparent in those which follow, and there are an ample number of examples. This is because it extends to all occurences when one has occasion to cross blades, as much from afar as in close, as much for the attacker as for the defendant, whether your Opponent is passive, or active, whether he is approaching or retreating, or whether he is performing the strangest moves that he knows. As such, we shall set ourselves, henceforth, to research the infinity of good and subtle inventions that Man has devised and put into practice for his defence. Just as Necessity is Mistress of the Arts, even to the point of having parrots and magpies learn to mimic human speech so far from their own nature, one must not doubt that those who are blessed with far more refined abilties, as are men, would thus have developed infinitely superior methods of self-defense. Observe that all animals have an innate desire for self-preservation, and that these employ, in times of need, all their strengths, both spiritual and physical, in their own defense. But, as we shall not dive too deeply into this labyrinth, we shall begin with situations not very much different from the preceeding actions, that is, those which follow from the subjugation of the blade at the Second Instance, just at the Oblique Diameter. Circle No 1 demonstrates the entry into distance, and the form which follows.
-|S’il eſt apparu par le Tableau Precedent, que le Sentiment eſt de terrible conſequence; il apparoiſtra ſemblablement bien toſt par ceux qui s’enſuivent, qu’il eſt auſſi fort ample: à cauſe qu’il s’eſtend à toutes les occurrences, où l’on a moyen de venir à l’attouchement des lames, tant de loin que de pres, tant pour l’aſſaillant, que pour le defendant, ſoit que le Contraire ſe repoſe, ou qu’il travaille, qu’il s’approche, ou qu’il recule, ou meſme qu’il ſe prevaille des mouvements les plus eſtranges, qu’il ſçauroit faire. En ſorte que nous nous allons mettre d’oreſenavant à la recerche d’une infinité de belles & ſubtiles inventions, que l’homme pourroit mettre en pratique pour ſa defenſe. Car puis que Neceſſité eſt la principale Maiſtreſſe des Arts, meſmes juſques à monſtrer aux Perroquets & aus Pies la prononciation du language humain tant eſloigné de leur Nature; il ne faut pas douter, que ceux qui ſont douëz de ſi rares qualitez, comme les hommes, n’ayent trouvé des pratiques infiniement excellentes pour ſe defendre; voyant que touts animaux ont un extreme deſir de leur propre conſervation, & qu’à icelle en temps de Neceſſité ils employent toutes leurs forces, tant corporelles, que ſpirituelles. Mais pour ne nous foncer du commencement trop avant dedans ce labyrinthe, nous commencerons par les occaſions, qui ne s’eſloignent guere des operations precedentes; aſſavoir par ce qui procede en ſuite de l’aſſujettiſſement des lames à la Seconde Inſtance en deça le Diametre: dont le Cercle N.1. en demonſtre l’entree, en la forme ſuivante.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 1'''
-|'''Cercle N.1.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander holds his opponent’s blade subjugated at the Second Instance, on the Diamter at the letter G.''
-|''Alexandre tient l’eſpee Contraire aſſujettie à la Seconde Inſtance en deça le Diametre à la lettre G.''
-|- style="font-family: times, serif; vertical-align:top;"
-|The two opponents were previously at the First Instance, swords held parallel in the direct line posture, with Alexander’s sword beneath the other. He then began to work, raising his sword-tip,  and setting his blade at the 3rd Span against the 8th Span of his opponent, at the same time raising his right foot up off the ground. He then moves the swords along the side of the Inside Square to the Oblique Diameter halfway to the Second Instance, while sliding the point of contact of the blades back so that his 8th Span comes to contact the 4th or 5th Span of his opponent and then subjgates his opponent’s blade as he sets his right foot down at the point G, at the Second Instance, drawing his left foot along using a circular path, to set it down at the Outside Square, with the toes along the Oblique Diameter, as is amply described and explained in Table VII, Circle No 1, and as is shown here in this figure.
-|Les deux Contraires ayants preallablement eſté à la Premiere Inſtance avec les eſpees paralleles en droite ligne, l’une au deſſus de l’autre, aſſavoir celle d’<font style="font-variant:small-caps">Alexandre</font> deſſous; il a commencé à travailler, en hauſſant ſa pointe, & aſſemblant ſa lame à Nombre 3. contre le Nombre 8. de ſa partie adverſe, eſlevant au meſme inſtant le pied droit de terre; & le menant quand & quand le long du Quarré inſcrit au deça le Diametre juſquà my-chemin de la Seconde Inſtance, faiſant cependant la deſgraduation de l’eſpee contraire par la graduation de la ſienne propre, en ſorte que ſon Nombre 8. ſe vient aſſembler au 4. ou 5. des Nombres contraires, & conſequemment il en fait l’aſſujettiſſement en ces meſmes Nombres, avec plantement du pied droit eſlevé, le poſant au poinćt G. à la Seconde Inſtance, & pourſuivant circulairemēt avec le pied gauche, à planter ſur le Quarré circonſcrit, les orteils d’iceluy ſur le Diametre oblique; ainſi qu’il eſt plus amplement ſpecifié au Tabl. VII. Cercle N.1. & qu’il ſe voit icy repreſenté en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 2'''
-|'''Cercle N.2.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''He steps from the Second Instance to the Third, and puts the tip of his blade in front of his opponent’s face.''
-|''Il marche de la Seconde Inſtance à la Troiſieme, & y preſente la poinćte de ſa lame au viſage de ſon Contraire.''
-|- style="font-family: times, serif; vertical-align:top;"
-|As Zachary is waiting for the follow-on to the previous action, Alexander advances with the right foot following the side of the Inside Square and sliding the point of contact up his sword, by the smallest number of Spans. Then Zachary immediately begins to increase his force, to defend himself. But, by sliding the point of contact up his sword Alexander has already acquired a very powerful dominance over his opponent’s sword, and continues his thrust, stepping in with the right foot to the letter N at the Third Instance, and following with his left foot to the letter K and placing his sword-tip exactly in front of his opponent’s face, as shown by the figures.
-|Puis que <font style="font-variant:small-caps">Zacharie</font> attend la pourſuite de la precedente operation; <font style="font-variant:small-caps">Alexandre</font> s’avance avec le pied droit ſuivant la trace du Quarré inſcrit, & graduant ſa lame par les moindres Nombres de la lame contraire. Dont Zacharie commence incontinent à en augmenter le poids, pour ſe defendre. Mais comme ainſi <font style="font-variant:small-caps">Alexandre</font> ait acquis une tresgrande ſuperiorité par la graduation de ſa lame, il en dompte l’eſpee contraire, & pourſuit ſon eſtocade, en entrant avec le pied droit à la Troiſieme Inſtance au poinćt N. & pourſuivant avec le pied gauche à planter à la lettre K, & à mettre enſemblement ſa pointe en courtoiſie devant le viſage de l’Adverſaire; comme les figures demonſtrent.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 3'''
-|'''Cercle N.3.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|Alexander, wishing to complete the attack and finish the preceeding action, enters swiftly into his opponent, with his right foot moving along the line of Inside Square and driving his point firmly, so that the two guards collide forcefully, as he sets his foot down at S, and put his weight on his bent knee, leaning forward as he sends his sword through his opponent’s head. As shown in the figures.
-|<font style="font-variant:small-caps">Alexandre</font> voulant achever l’atteinte & l’execution de l’operation precedente, il entre viſtement avec le pied droit deſſus ſon Adverſaire  par le trac du Quarré inſcrit, en graduant les lames, & aſſenant ſa pointe en rigueur, de ſorte que les deux gardes s’entredonnent avec force, en plantant le pied eſlevé au poinćt S, & menant ſur le genouil d’iceluy plié la charge du ſon corps à pancher ſur le devant, en pouſſant ſa lame à travers la teſte de ſon Contraire; ſelon les figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 4'''
-|'''Cercle N.4.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Again, he tries to perform the action from Circle No 2, while he steps towards the Third Instance. His adversary parries his strike, carrying the swords across to the inside with a Very-Strong force. So Alexander wounds him with a reverse strike to the back of his head.''
-|''Travaillant derechef pour effectuer l’operation du Cercle N.2. cependant qu’il marche devers la Troiſieme Inſtance; l’Adverſaire luy pare le coup, en tranſportant les eſpees en dedans avec poids Tres-fort: dont Alexandre le bleſſe d’un coup de revers au derriere de la teſte.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This actions follows from that shown in Circle No 1, where Alexander has subjugated his opponent’s blade at the Second Instance, again intending to perform action of Circle No 2. Thus, stepping with his right foot towards the Third Instance, he slides his blade with his arm straight and extended against the 5th Span of his opponent’s blade, which Span he previously held it at bay. And however much Zachary tries to parry the blow by increasing his force, nonetheless, Alexander has such superiority, that he dominates him, in such a way that the blades cannot rise up, while turning his sword-tip, with a circular motion, downwards towards the right side of his opponent’s neck, while he is moving his raised right foot towards the Third Instance at letter N, and then brings his left foot along in a circular path. By this, Zachary must employ a Very Strong degree of force to raise the blades and carry them to the inside. Which does not prevent Alexander, during this movement, from keeping the blades coupled together, and so restrain his opponent’s blade with his own beneath the other, until they have lowered enough. At that instant he disengages and allows it to fly out of control, while bringing his own out from under the other, up above his head, and ,as he sets his left foot down at W on the Outside Square, and leans his body forwards, putting his weight over his knee, he extends his arm and strikes diagonally downwards with reverse cut, to the back of his opponent’s head. This is shown in the figure.
-|Ceſte operation procede de celle qui eſt repreſentée au Cercle N.1. où <font style="font-variant:small-caps">Alexandre</font> à aſſujetti l’eſpee contraire à la Seconde Inſtance, en intention de venir derechef à l’operation du Cercle N.2. Dont marchant avec le pied droit vers la Troiſieme Inſtance, il va graduant ſa lame avec le bras roide & eſtendu par le Nombre 5. de la lame contraire, ſur lequel il la tenoit paravant aſſujettie. Et combien que <font style="font-variant:small-caps">Zacharie</font> taſche à parer le coup en augmentant le poids: Toutesfois <font style="font-variant:small-caps">Alexandre</font> qui a autant de ſuperiorité, le dompte, de ſorte que les lames ne peuvent monter, tournant ſa pointe un peu circulairement deſcēdante, devers le coſté droit du col de l’Adverſaire, durant que le pied droit à preſent eſlevé ſe va planter à la Troiſieme Inſtance au poinćt N. avec pourſuite circulaire du pied gauche. Et par ainſi <font style="font-variant:small-caps">Zacharie</font> eſt contraint de travailler avec un poids Tres-fort, pour hauſſer les lames & les tranſporter en dedans. Ce qui n’empeſche pas <font style="font-variant:small-caps">Alexandre</font> de tenir, durant ledit tranſport, les eſpees accouplées, en retenant la contraire avec la ſienne par deſſous, juſqu’à tant qu’elle ſoit veune aſſez baſſe; auquel inſtant il la laiſſe enfuir & tresbucher, en menant la ſienne de deſſous l’autre par deſſus ſa teſte en haut, & en aſſenant diagonalement un coup de revers avec le bras eſtendu au derriere de la teſte de ſon Contraire, plantant egalement le pied gauche eſlevé ſur le Quarré circōſcrit au poinćt W, & ſur le genouil d’iceluy menant la charge du corps, à pancher ſur le devant; comme il ſe voit en la figure.
-|- style="font-family: times, serif; vertical-align:top;"
-|This reverse cut is shown being executed with full force, but when training with a friend, one stops the blow above the head of your opponent without touching him. As such, one cannot train with full speed. It also follows that the blow cannot be too difficult to parry, as we show here in the next Circle.
-|Ce coup de revers eſt icy repreſenté à executer en rigueur: mais quand on s’exercice en courtoiſie, on en arreſte la courſe un peu au deſſus de la teſte contraire ſans la toucher; en ſorte qu’on ne peut alors travailler avec tant de viſteſſe: dōt s’enſuit auſſi, que le coup ne ſeroit pas ſi difficile à parer, là voicy au Cercle prochain enſuivant.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 5'''
-|'''Cercle N.5.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Zachary parries the preceeding reverse cut, by raising his arm and blade. At the same time, Alexander drops his point, and puts it in front of Zachary’s face.''
-|''Zacharie partant le precedent coup de revers, en hauſſant le bras & l’eſpee; au meſme temps Alexandre deſcend ſa poinćt, & la luy met devant le viſage.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Zachary, sees the reverse cut coming to the back of his head, as in the preceeding action. He takes a large step backwards with his left foot, quickly raising his sword to the right above his head to parry the threatening strike. Meanwhile, Alexander turns his left side inwards, his right side outwards, and draws his right arm back, so this way he brings his sword-tip in a half-circle down, around, and underneath his opponent’s blade, then aims his tip exactly at his opponent’s face, arm bent and turning his feet slightly inwards, again keeping his body leaning forward. This is shown by the figure.
-|Zacharie donc voyant derechef venir le meſme coup de revers devers ſa teſte, ainſi qu’en l’operation precedente; il fait un grand pas en arriere avec le pied gauche, hauſſant tresviſtement le bras avec l’eſpee par deſſus le coſté droit de ſa teſte, pour la parer devāt le coup qui le menace. Cependant Alexandre ſe tourne le coſté gauche en dedans, & le droit en dehors, retirant le bras en arriere, & par ceſte voye menant ſa pointe à demy circulairement de haut en bas deſſous la lame contraire; & a luy dreſſant en courtoiſie devant le viſage avec le bras courbe, & avec une petite entrade des deux pieds, comme auſſi avec le corps panché un peu en devant; ainſi que la figure le repreſente.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 6'''
-|'''Cercle N.6.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Zachary parries the last thrust, aimed at his face, by quickly dropping his arm and sword. At the same time, Alexander takes a step in forwards with both feet, throwing his sword-arm behind, bringing the sword from beneath to above his opponent’s blade.''
-|''Zacharie parant la derniere eſtocade, qui luy eſtoit dreſsé au viſage, en deſcendant viſtement le bras avec l’eſpee; Alexandre entre au meſme temps avec les deux pieds un pas en avant, jettant le bras avec l’eſpee en arriere, de deſſous l’eſpee contraire au deſſus.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Zachary realizes the danger from the thrust, which had been held back, without touching his face, very quickly drops his sword down against his opponent’s blade to turn it aside. To avoid this, Alexander extends his arm, and turns his wrist, and moves his sword-tip backwards, under his opponent’s blade without touching it, while stepping forward with the left foot along the Circle, so that his toes come to be on the extreme end of the Quadrangle, his body leaning forward on his bent left knee. He then draws his right foot along, with his heel raised, on the Outside Square between the letter P and T and brings his sword from beneath to above the other, as is shown in the picture.
-|<font style="font-variant:small-caps">Zacharie</font> recognoiſſant le danger de l’eſtocade precedente, (quoy qu’elle ait eſté retenuë, ſans luy toucher le viſage) il abaiſſe fort viſtement le bras avec l’eſpee de haut en bas devers l’eſpee contraire pour la deſtourner. Et pour ce prevenir <font style="font-variant:small-caps">Alexandre</font> jette au meſme temps, en eſtendant le bras & tournant le poignet, la pointe de ſa lame à l’envers, au deſſous de la lame contraire ſans la toucher, faiſant enſemblement avec le pied gauche un pas en avant, en deça le Cercle, en ſorte que les orteils en viennent à reſpondre à l’endroit de l’extreme bout du Quadrangle, & le corps ſe panche deſſus le genouil gauche en avant, trainant conſequemment le pied droit apres avec le talon levé, ſur le Quarré circonſcrit entre les lettres P, & T, & enſemblement menant ſa lame de deſſous au deſſus de l’autre; comme il eſt montré en ſa figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 7'''
-|'''Cercle N.7.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander raises his right foot so as to lean over his left, while making a cut to the right side of his opponent’s head.''
-|''Alexandre en levant le pied droit ſe va pācher ſur le gauche, en donnāt un coup d’eſtramaçon à ſon Contraire au coſté droit de la teſte.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action is nothing more than a continuation of the previous, followed on without interruption, raising the right foot in the air, leaning the body over the left leg, left arm dropping, and hitting his opponent with a cut across the right side of the head, as is shown in the figure.
-|Ceſte operation n’eſt autre choſe, qu’une continuation de la precedente, à pourſuivre ſans nulle interruption, en levant le pied droit en l’air, & panchant le corps en devant ſur la jambe gauche, avec le bras egalement deſcendant, & donnant à ſon Contraire un coup d’eſtramaçon au coſté droit de la teſte; comme il ſe voit en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 8'''
-|'''Cercle N.8.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|Next, with his right foot, he takes a good step outside the circle beside his opponent, as we have shown in the figure. After this, he leans his body forward over his right knee, and puts his sword in front of him, tip down towards the ground at an acute angle, with his arm straight. This is not shown here due to space. Nontheless, it must be performed as a means to arrive at the following action.
-|Apres il marche encores plus outre avec le pied droit eſlevé un bon pas en avant à coſté du corps de ſa Partie, cōme nous l’avons repreſenté icy en la figure: En ſuite de quoy il ſe panche le corps en devant ſur le genouil droit, mettant egalement l’eſpee devant luy, la pointe deſcendante juſqu’à bien pres de la terre en angle aigu, avec le bras roide. Aćtion qui n’a pas eſté icy repreſentée à faute de place; toutesfois il faut qu’elle y ſoit pratiquée pour venir à l’operation ſuivante.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 9'''
-|'''Cercle N.9.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|Alexander was leaning forward, his sword pointed at the ground at an acute angle, he immediately turns the tip upwards, in front of the right side of his head, by turning his wrist, and pinning it to his hip. At the same time, he twists his left side towards his opponent. He raises his left foot and pivots around on his right foot, moving so his arm and sword are in front, his hand pressed against his side and the point of his sword aimed upwards. He bringss his left hand over and around the guard. At the same time that he puts his left foot down towards his opponent, with his left knee bent, his weight on it, he executes the attack, using his body weight, against his opponent’s back. This is as demonstrated by the figures.
-|Eſtant Alexandre ainſi panché ſur le devant avec l’eſpee eſtendue & deſcendante en angle aigu, il en tourne tout à l’inſtant la poinćte en haut par devant le coſté droit de ſa teſte, & ce à l’aide du poignet de la main, enſemblement ſe tournant & dreſſant le corps à gauche devers ſon Contraire; avec eſlevation du pied gauche, & preſentation du bras & de l’eſpee en avant, icelle affermiſſant à ſon coſté droit avec la pointe dreſſé contre mont, & en empoignant de la main gauche la garde par deſſous; & quand & quād poſant le pied à terre devers ſa Partie, avec le genou de devant plié & le corps repoſé deſſus, au meſme temps il donne l’atteinte & en fait l’execution, moyennant la charge du corps, par le dos de ſon Contraire; ainſi que les figures le demonſtrent.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 10'''
-|'''Cercle N.10.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''After Alexander subjugates the sword, as he does to begin the action of Circle No 2, Zachary draws his sword away to the outside, putting it above the line S-N. So Alexander, instead of following through with his thrust, simply changes his approach.''
-|''Apres l’aſſujettiſſement de l’eſpee, comme Alexandre ſe vent mettre en devoir de commencer l’operation du Cercle N.2. Zacharie eſcarte ſa lame en dehors, la mettant au deſſus de la ligne SN. dont Alexandre, au lieu de pourſuivre l’eſtocade, ſe content d’amender ſimplement ſon approche.''
-|- style="font-family: times, serif; vertical-align:top;"
-|The action in this present Circle evolves from the 1st Circle, where Alexander has subjugated his opponent’s sword at the Second Instance. After this he has wounded his opponent with a thrust at the Third, as is represented in the 2nd Circle. Now, to prevent this thrust, at the instant his feet reach the Second Instance, Zachary opens his arm and sword outwards to the right side above the Inside Square, along the line S–N. By doing this he prevents his adversary from wounding him along the line of his blade while moving from the Second to the Third Instance. Nonetheless, Alexander, still wishing to pursue his thrust, seizes from this position a new advantage, moving his right foot along the Inside Square to mid-way to the Third Instance, and bringing his left foot up, parallel to his right, along the Outside Square, as is seen in the figure.
-|L’operation de ce Cercle preſent depend du Cercle N.1. où Alexandre a aſſujetti l’eſpee contraire à la Seconde Inſtance; & en ſuite il a bleſſé ſoudit Contraire d’un coup d’eſtocade à la Troiſieme; ainſi qu’il eſt repreſenté ſur le Cercle N.2. Maintenant donc pour prevenir ceſte eſtocade, à l’inſtant qu’il arrive avec les pieds à ladite Seconde Inſtance, Zacharie s’eſcarte le bras & l’eſpee en dehors à la main droite deſſus le Quarré inſcrit, lignes SN. Et en ce faiſant il prévient l’Adverſaire de ne le pouvoir bleſſer au long de ſa lame en allant de la Seconde Inſtance à la Troiſieme; Alexandre voulant neantmoins pourſuivre ſon eſtocade, prend là deſſus un nouvel advantage, en allant avec le pied droit le long du Quarré inſcrit juſqu’à my-voye de la Troiſieme Inſtance, & pourſuivre avec le gauche, à planter parallel à l’autre ſur le Quarré circonſcrit; ainſi qu’il ſe voit en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 11'''
-|'''Cercle N.11.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''He pursues his thrust, taking a large step forward and a little outside the circle with his right foot, while, with his arm held straight, he slides the point of contact up the sword and aims the tip at his opponent’s neck. This attack is parried to the inside with a Very Strong degree of Force. He very quickly enters in against his opponent, jumping behind his back, with a reverse cut to the left side of his head.''
-|''Il pourſuit ſon eſtocade, en marchant avec le pied droit un grand pas en avant un peu en dehors le Cercle, enſemble graduant & dreſſant ſa poinćte devers le col de ſa Partie adverſe avec le bras roide. Lequel coup luy eſtant paré en dedans avec poids Violent; il entre tres-viſtement ſur ſon Contraire, en luy ſautant derriere le dos, avec un coup de revers au coſté gauche de ſa teſte.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action follows on from the preceeding one, where Alexander has altered his position. Consequently, he has moved forward, while sliding the point of contact of his sword, stepping in with the right foot a good pace further on, a bit outside the Circle about the middle of the line O-Z, without lowering the swords at all, and, keeping his arm straight, moves the sword-tip around in a circle until it is aimed at the base of his adversary’s throat, who is then forced to use violent force to parry the blow, carrying the swords over to the inside. Alexander jumps in with a large step behind his opponent, turns his chest forward, while bringing his sword up passing above his head and then continuing to perform a reverse cut at the instant his left foot touches the ground and brings his right foot around to the outside. With his body leaning forward, he strikes hard to the left side of his opponent’s head, as shown.
-|Ceſte operation eſt la pourſuite de la precedente, où <font style="font-variant:small-caps">Alexandre</font> avoit amendé ſa ſituation; & conſequement il s’eſt avancé en graduant ſon eſpee, & entrant avec le pied droit un bon bas plus outre, un peu dehors le Cercle à l’endroit du mitan de la ligne OZ. abaiſſant aucunement les eſpees, & dreſſant d’un bras roide ſa poinćte circulairement vers le bas du col de ſon Adverſaire. Lequel eſtant contraint d’uſer de Violence pour parer cedit coup, en tranſportant les eſpees en dedans: <font style="font-variant:small-caps">Alexandre</font> entre un grand pas ſur luy en ſautant, & tournant la poitrine devant, & menant à meſme temps ſa lame de bas en haut par deſſus ſa teſte, & cōtinuant à en donner avec extenſion du bras un coup de revers, au meſme inſtant que le pied gauche ſe plante avec deſtournement du pied droit en dehors, pour venir derriere le Contraire, & executer ſur luy tant plus rudement, avec le corps panché, le coup aſſené au coſté gauche de ſa teſte; ſelon la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 12'''
-|'''Cercle N.12.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|To stop his momentum after his leap, he leans backwards on his right foot, bending his knee, and draws his sword-arm behind himself, tip pointing down and forward, as presented in the image.
-|Pour rompre la courſe & le mouvemēt du ſaut, il ſe panche à l’envers ſur le pied droit, pliant le genouil, & retirant le bras avec l’eſpee en arriere; la pointe un peu baſſe & avancée, tirant à main droite; ainſi qu’il eſt repreſenté en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 13'''
-|'''Cercle N.13.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|Zachary stands motionless, stunned by the slash to the head he received. Alexander promptly raises his left foot, and steps towards his opponent, leans his body forward, and drives the sword through his back.
-|<font style="font-variant:small-caps">Zacharie</font> demeurāt eſtonné par la vive atteinte qu’il a receuë, ſans ſe mouvoir; <font style="font-variant:small-caps">Alexandre</font> leve incontinent le pied gauche, & en marche devers ſon Contraire, panchant le corps en avant, & luy pouſſant en rigueur l’eſpee à travers le dos.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 14'''
-|'''Cercle N.14.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|This is the follow-on from the 11th and 12th Circles. Here Zachary, perceiving that, after the leap and strike, his opponent is now behind him, turns about to the right and withdraws slightly by bringing his left foot around and putting his toes down by the Diameter, close to the letter R, turning his chest forward, raising his arm and sword up to defend himself. Because the sword, thus brought up, passes above Alexander’s head, Alexander moves forward a step with the right foot, and by leaning forward, drives his sword through Zachary’s chest. This is demonstrated by the figure.
-|Voicy la ſuite des Cercles N. 11. & 12. Dont <font style="font-variant:small-caps">Zacharie</font> recognoiſſant que ſon Contraire luy eſt venu derriere le dos avec le ſaut & l’execution du coup precedent; il ſe retire en voltant le pied gauche à droite, & le plantant avec les orteils pres le Diametre aſſez pres de la lettre R, ſe tournant enſemblement la poitrine devant, avec le bras & l’eſpee montante, pour ſe defendre. Et puis que l’eſpee, eſtant ainſi menée, paſſe au deſſus de la teſte d’<font style="font-variant:small-caps">Alexandre</font>, iceluy s’avance d’un pas avec le pied droit, & en panchant le corps, luy pouſſe la ſienne à travers la poitrine; ainſi qu’il eſt demonſtré par la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 15'''
-|'''Cercle N.15.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|This last action again derives from the 11th and 12th Circles. For as soon as Alexander’s reverse cut hit him on the right side of his head, Zachary realized that Alexander was already behind his back, so he turns keeping his feet in place, so his body, with his arm and sword up, faces toward his opponent. At that same time Alexander steps in on him with his left foot and grabs the sword-guard from above with his left hand, then turns it outward, bringing his own guard in tight against his side, aiming the sword-tip at his opponent’s chest, exactly as shown in the image.
-|Ceſte derniere operation depend encor ſemblablement des Cercles N.11. & 12. Car dés qu’<font style="font-variant:small-caps">Alexandre</font> luy a tiré le coup de revers au coſté droit de la teſte; <font style="font-variant:small-caps">Zacharie</font> recognoit qu’il eſt deſia derriere ſon dos; dont il ſe tourne ſur les deux pieds ainſi plantez, en preſentant le corps avec le bras & l’eſpee devers ſon Contraire. Au meſme temps <font style="font-variant:small-caps">Alexandre</font> luy entre deſſus avec le pied gauche, & luy empoigne par deſſus la garde de l’eſpee, avec la main gauche, & la tourne en dehors, s’affermiſſant le bras avec ſa garde au coſté, en aſſenant la pointe à la poitrine de ſon Contraire; le tout en conformité de la figure.
-|-
-|
-|
-|- style="font-family: times, serif; vertical-align:top;"
-|Those who my chance to contemplate the images without duly examining them, may feel they have some critique to make. They may not be easily persuaded that is practicable, when confronted with a live opponent, to use these means to get behind him, as shown. Also that this said opponent would take care not to permit this. But I would caution them, that they would but take some time to consider the opening Zachary created, the extremity of the position into which Zachary has been put, before they proudly present their case. The strike that Alexander makes can only be countered with an extremely powerful and violent parry. And such wild action cannot be conducted, nor controlled, as easily as one wishes, the opponent has benefitted from having already moved into close range, and while the swords were flying overhead, he has taken the opportunity and time to pass beyond and behind. Those who find this so very strange are those who have been trained in the traditional way, who are careful to only make a pass while they are still at long range, and upon seeing their opponent’s sword close in, withdraw out of range. What they do by chance, we perform with assurance. For we come from the sense of feel and the close range, and thereby force our opponent to counter our moves wildly, in such a way that opens to us the path for our position, from which he invariably receives a blow.
-|Ceux qui viendront par fortune à contempler les figures de ce Tableau, avant les avoir deuement examinées, y trouveront peut eſtre aſſez à redire. Car ils ne ſe pourront du commencement perſuader, qu’il ſoit practicable à l’homme vivant, de gaigner ainſi le derriere à ſon Adverſaire, comme elles demonſtrent; & que ledit Adverſaire devroit bien ſonger en d’autres affaires, avant que de le permettre. Mais je les adverti, qu’ils prennent premierement la patience de conſiderer l’occaſion que Zacharie en a baillée, & l’extremité en laquelle il a eſté reduit, avant que de la preſenter ſi belle. C’eſt que le coup d’Alexandre a eſté porté ſur luy avec un ſi grand avantage, qu’il luy a eſté impoſsible de le parer autrement, qu’avec violence. Et comme ainſi ſoit, que les aćtions violentes ne puiſſent eſtre conduites, ne gouvernées à ſouhait, le Contraire en a fait tellement ſon profit, qu’eſtant preallablement venu en meſure eſtroite, durant le mouvement violent, il a prins le temps de paſſer outre. Qu’ils ne trouvent celà ſi eſtrange, puis que ceux qui tirent à la mode ancienne, ſe hazardent bien de faire les paſſades, encores qu’ils ſoyent en meſure large, dé qu’ils voyent apparence que l’eſpee contraire ſortira de preſence: ce qu’ils font avec hazard, nous le monſtrons avec ſeureté; car nous venons ſur le ſentiment en meſure eſtroite, & y eſtants, nous forçons le Contraire à ſe defendre avec violence, de ſorte qu’il nous en ouvrira le chemin à noſtre poſte, ou il en recevra l’atteinte inevitable.
-|}
 {{master end}}
 {{master begin
-  | title = Book 1 - Tableau / Plate XI - Refining the Sense of Feeling.
+  | title = Book 1 - Tableau / Plates XII - XXII
   | width = 60em
 }}
-{| class="floated master"
+{{main|Gérard Thibault d'Anvers/Plates 12-22}}
-! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
-! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
-|-
-|Colspan="2"|[[file:Thibault L1 Tab 11.jpg|600px]]
-|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
-|EXPLANATION OF THE ACTIONS IN THE ELEVENTH PLATE.
-|DECLARATION DES OPERATIONS DV TABLEAV ONZIEME.
-|- style="font-family: times, serif; vertical-align:top;"
-|When doctors visit patients to diagnose illnesses, nothing gives them more trouble than the distinguishing between two similar, but different, ailments, which is why only the most learned and best experienced are not mistaken. But just as they take the feel of the pulse, which symptom is held as more significant than any other, so we do likewise in our Training. When an action occurs that is so difficult that sight alone is insufficient to properly follow what is happening, we rely then on our sense of feel to inform us and help us discover the true intent, to find in what ways his options to attack are limited, and, having found this out, we can prevent him from carrying out his desired attack. This is what, hereafter, shall be shown in this and the following Plates. If, as I say, the fabric of exercises in the 10th Plate were coarse, if they were of large movements, very easy for Alexander to perceive, the 11th shall present more subtle ones. As such, up until this point, Alexander has always subjugated his opponent’s blade at the Second Instance. Let us say that there are two means by which Zachary can interrupt this approach, the one by standing firm, which we have shown in the examples in the preceeding Plates, and the other is by retiring backwards. Here, then, Zachary will practice his withdrawals, but in all cases without disengaging swords. For we have already touched upon the topics of circular disengagements and feints, and this shall be discussed further, at another point. Now, we shall see how he tries to change the range, and how Alexander reacquires his dominance anew.
-|Quand les Medecins font leurs viſites pour aſſeoir un bon jugement, il n’y a choſe au Monde qui les trouble d’avantage, que la ſimilitude de l’une maladie à l’autre, qui eſt cauſe que, les plus doćtes meſmes & les mieux experimentez y ſont aucunefois trompez, en prenant l’une pour l’autre. Mais comme ils ſe tiennent en ceſte occaſion pluſtoſt au raport du poulx, qu’aux autres marques de moindre importance: ainſi en faiſons nous pareillement en noſtre Exercice; quand il s’y preſente quelque aćtion ſi difficile, que le jugement de la veüe y manque, nous nous adreſſons au Sentiment, qui nous deſcouvre le principe, d’où le mouvement eſt contraint de tirer toute ſon addreſſe, & l’intention eſtant cognue, on la peut touſiours empeſcher de ſortir l’effet qu’elle deſire. C’eſt ce qui paroiſtra doreſenavant de plus à la ſuite de nos Tables. Car ſi les occaſions de la dixieme ont eſté de groſſe eſtoffe, je di, ſi ce ont eſté de grands mouvements, & qui eſtoyent fort faciles à recognoiſtre pour Alexandre l’Onzieme vous en mettra devant les yeux des autres plus subtiles. Et comme ainſi ſoit, que juſques icy noſtre Alexandre ait touſiours taſché d’aſſujettir l’eſpee contraire à la Seconde Inſtance; diſons qu’il ya deux manieres principales pour luy rompre ceſte approche, l’une en demeurant ferme, dont nous avons propoſé les exemples aux Tableaux precedents, & l’autre en ſe retirant en arriere. Voicy donc Zacharie qui s’en va pratiquer les retirades, toutesfois ſans destaſcher les eſpees: car touchant les cavations & notamment les feintes il en a eſté parlé, & en ſera diſcouru encore autrepart. Maintenant voyons comment il taſche à luy rompre la meſure, & comme Alexandre reprend touſiours nouvel avantage.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 1'''
-|'''Cercle N.1.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander subjugates his opponent’s sword along the Diameter at the Second Instance. Zachary turns on his two feet, so his right side goes to the outside, and his sword arm and sword come to rest just above the side of Inside Square.''
-|''Alexandre aſſujettiſſant l’eſpee contraire au deçà le Diametre à la Seconde Inſtance; au meſme temps Zacharie ſe deſtourne ſur les deux pieds le coſté droit en dehors, en ſorte que le bras avec l’eſpee luy viennent reſpondre juſtement deſſus le coſté du Quarré Inſcrit.''
-|- style="font-family: times, serif; vertical-align:top;"
-|The two opponents begin standing on the Circle at the First Instance, in the direct line posture, swords parallel, Alexander’s below the other. He begins to work against his opponent, subjugating the sword at the Second Instance, right foot on the letter G, on the Oblique Diameter. But before he can set both feet safely on the ground, Zachary spins on his toes towards the Diameter, and with a slight withdrawal of his left foot, turns his right side to the outside, a little back, and allows his extended right arm to come to rest, by means of a small slide up the blade, above and along the the side X-N of the Inside Square, with an Alive degree of Force.
-|Les deux Contraires s’eſtants plantez preallablement ſur le Cercle à la Premiere Inſtance en droites lignes, ſuivant la forme requiſe; l’eſpee d’<font style="font-variant:small-caps">Alexandre</font> parallele au deſſous de l’autre; il commence à travailler en l’aſſujettiſſant à la Seconde Inſtance lettre G, par deça le Diametre; mais avant qu’il ait bonnement planté les pieds en terre, <font style="font-variant:small-caps">Zacharie</font> ſe tourne les orteils des deux pieds devers le Diametre, & cela avec une petite retirade du pied gauche, deſtournant par ainſi le coſté droit en dehors un peu en arriere, & laiſſant aller (moyennant quelque petite deſgraduation) le bras eſtendu avec l’eſpee en droite ligne, au deſſus le coſté du Quarré Inſcrit, marqué X N, avec Sentiment Vif.
-|- style="font-family: times, serif; vertical-align:top;"
-|All of this with the intention of awaiting Alexander to once again thrust from the letter N at the Third Instance along the side of the Inside Square. Because to do this he must attack with his tip, which means the weak of his blade will pass by the strong of  Zachary’s, and so Zachary would have the means to close the line and hit him instead of being hit.
-|Le tout en intention d’attendre en ceſte forme, qu’<font style="font-variant:small-caps">Ale</font>xandre luy vienne porter derechef l’eſtocade au long du Quarré Inſcrit à la Troiſieme Inſtance lettre N: car puis qu’il ſeroit contrainćt de ce faire en paſſant avec la pointe, qui eſt le foible de l’eſpee par le fort de la ſienme, il auroit moyen de luy fermer la ligne, & de donner atteinte au lieu d’en recevoir.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 2'''
-|'''Cercle N.2.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander follows on his action, advancing his right foot together with the left side of his body into the angle, putting his raised foot down on the Perpendicular Diameter at point L.''
-|''Alexandre pourſuivant l’operation encommencée, s’avance le pied droit enſemble avec le coſté gauche du corps au dedans de l’angle, mettant le pied eſlevé à terre au deça le Diametre au poinćt L.''
-|- style="font-family: times, serif; vertical-align:top;"
-|After Zachary has almost achieved the preceeding action, and awaits his opponent to again come at him with a thrust from the Third Instance, which he reaches by stepping with his right foot along the side of the Inside Square, Alexander continues his attack, not as intended, but according to the situation, by advancing his right foot from where it was at the Second Instance, up to the letter L, along the Perpendicular Diameter, leaning forward slightly, and, notably, his left side, such that by this means he enters into the angle of his opponent’s sword, drawing his left foot behind, heel raised, up to the first section of the Exterior Collateral before the letter F, again subjugating his opponent’s sword, to then continue on with the actions shown in Circles No 8, 9, 10, 11, 12, and 13. which could nevertheless also proceed from Circle No 5, having but this sole difference of the one beginning with the right foot forward, and the other, the left. Meanwhile, be aware that here we see that Alexander has set his left foot down inside the Circle on the Interior Collateral between the letters G and I, which is done for clarity so we can see his guard. But in practice, it is best to follow the description, which is more correct.
-|Apres que <font style="font-variant:small-caps">Zacharie</font> à parachevé la precedente aćtion, & qu’il attend que ſon Contraire luy vienne derechef tirer une eſtocade à la Troiſieme Inſtance, en cheminant du pied droit par la trace du Quarré Inſcrit: <font style="font-variant:small-caps">Alexandre</font> pourſuit à travailler non pas ſelon ceſte intention, mais ſelon l’exigence, en avançant le pied droit du lieu où il eſtoit planté à la Seconde Inſtance, juſqu’à la lettre L au deçà le Diametre; avec le corps panché un peu en avant, & notamment le coſté gauche, en ſorte qu’il entre par ce moyen dedans l’angle de l’eſpee contraire, trainant le pied gauche ſur les orteils derriere juſqu’à la premiere ſećtion de la Collaterale exterieure devant la lettre F. ſujettant derechef l’eſpee contraire, pour en tirer la pourſuite des operations & executions repreſentées ſur les Cercles N.8.9.11.12.13. qui peuvent ce neantmoins proceder auſſi ſuite du Cercle N.5. n’y ayant que ceſte ſeule difference de commencer en l’un avec le pied droit devant, & en l’autre avec le pied gauche. Cependant ſoyez adverti que le pied gauche d’<font style="font-variant:small-caps">Alexandre</font> eſt icy planté en la figure au dedans du Cercle ſur la Collaterale interieure entre les deux lettres G & I. ce qui a eſté fait pour mettre ſa garde en veüe. Mais en la Pratique il ſera plus expedient d’enſuivre la deſcription, d’autant qu’elle eſt plus propre.
-|- style="font-family: times, serif; vertical-align:top;"
-|Now, whereas Alexander practices this manoeuvre of entering in with the foot in Circle No 2 after his opponent has finished moving, he must also practice it at the same time that his opponent is moving, and while he is yet unable to command the situation. Which he must do by having his foot ready to follow promptly.
-|Or comme ceſte operation d’entrer avec le pied droit a eſté pratiqué en ce Cercle 2. par <font style="font-variant:small-caps">Alexandre</font>, apres que le mouvement du Cōtraire a eſté deſia fini; auſsi la faut il pratiquer durant le meſme temps avant qu’il ſoit venu à bout de ſon intention, & durant qu’il eſt encor empeſché à former la ſituation: ce qu’il faut faire en ayant le pied prompt à le pourſuivre.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 3'''
-|'''Cercle N.3.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''At the same moment that Zachary is performing the aforsaid movement, Alexander very swiftly moves his right foot close to the Diameter, following it suddenly with his other foot, so that he very quickly spins it around (thus disengaging his sword) behind his right foot, such that it comes to rest across the diameter on the Circumference between W and X, and hitting his adversary with a straight-arm thrust to the head.''
-|''Durant le mouvement de l’aćtion de Zacharie dernierement dite; Alexandre s’avance au meſme temps aſſez viſtement le pied droit bien pres du Diametre, continuant à pourſuivre tout ſoudainement avec l’autre, à volter de grand viſteſſe (& ce en deſtachant les eſpees) par derriere le pied droit, de ſorte qu’il vient à tomber en terre par delà le Diametre ſur la Circonference entre W & X, en donnant l’eſtocade à ſa partie adverſe avec le bras roide à travers la teſte.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Before Zachary has finished this last movement, which is to turn his arm with his sword above the side of the Inside Square, and his sword comes to rest, in such as way that it looses almost all it’s sense of feeling, Alexander steps forward and enters in, keeping his sword on top, moving his right foot from where it was at the Second Instance to just near the letter R, that is on the Diameter, then, lifting his sword up from the other, spins about on his right foot, swinging his left around until it comes to rest on the Circumference between W and X. He leans backwards above his bent right knee and straightens his arm to drive a thrust through his opponent’s head, as is shown.
-|Avant que <font style="font-variant:small-caps">Zacharie</font> ait achevé cedit dernier mouvement, qui eſt d’avoir tourné le bras avec l’eſpee au deſſus le coſté du Quarré Inſcrit, & que ſon eſpee s’en affoiblit, en ſorte qu’il en pert quaſi tout le Sentiment; au meſme temps <font style="font-variant:small-caps">Alexandre</font> s’avance & entre deſſus luy, en portant le pied droit depuis la Seconde Inſtance, où il eſtoit planté, juſques bien pres du Diametre, lettre R, & oſtant ſa lame de deſſus l’autre, pourſuit tout d’un train à faire la volte à l’envers avec le pied gauche, qui tombe en terre entre W & X deſſus la Circonference avec le corps panché à l’envers deſſus le meſme genouil plié, en donnant le coup d’eſtocade avec le bras eſtendu à travers la teſte de ſon contraire, comme il eſt repreſenté en leurs figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 4'''
-|'''Cercle N.4.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''This manoeuvre does not differ much from the preceeding, just that Zachary has merely turned his body and sword, without withdrawing his left foot backwards.''
-|''Ceſte operation ne differe guerres de la precedente, ſinon que Zacharie ſe contente icy de tourner le corps & l’eſpee tant ſeulement, ſans retirer le pied gauche en arriere.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Because Zachary has, in the 4th Circle, decided not to step backwards, but merely turned his feet towards the Diameter, it follows then that he has not withdrawn backwards, as it the previous Circle. Thereupon Alexander advances with his right foot a bit beyond the Center along the Oblique Diameter, yet continues to immediately spin about with his left foot. As soon as he finds himself inside the perpendicular line of his opponent’s sword, he leaves it there and, with an extension of his arm, delivers a thrust to the right side of his face. He turns his right foot, which is on the the Oblique Diameter, near the letter Q,  to the outside, spinning his left foot around behind him, so that he sets his toes down beyond the Oblique Diameter a little bit before where the line V-W crosses the line S-X. He puts his wieght on his bent knee, and in this way he executes the final motion of the thrust through his adversary’s head, as it appears in the portrait of the figures.
-|Puis que <font style="font-variant:small-caps">Zacharie</font> ſe contente en ce Cercle 4. de tourner ſimplement les orteils de ſes pieds en devant vers le Diametre, ſans retirer le pied gauche, il s’enſuit donc qu’il ne ſe recule pas tant en arriere, comme au Cercle precedent: là deſſus <font style="font-variant:small-caps">Alexandre</font> s’avance avec le pied droit un peu outre le Centre ſur le Diametre oblicq, en continuant tout de ſuite à volter  avec le pied gauche; & d’autant qu’il ſe retrouve par ceſt advancement au dedans des perpendiculaires de l’eſpee contraire, il la quitte, & luy porte avec extenſion du bras un coup d’eſtocade au coſté droit du viſage, en tournant le pied qui eſt planté ſur le Diametre oblicq en dehors bien pres de la lettre Q, & voltant le pied gauche à l’envers en ſorte, qu’il vient à deſcendre avec les orteils par delà le Diametre un peu plus avāt que l’entrecoupure de la ligne S X, ſe chargeant le corps deſſus avec le genouil plie, & en ceſte maniere il acheve la finale execution de l’eſtocade à travers la teſte de l’Adverſaire; comme il appert au pourtrait des figures.
-|- style="font-family: times, serif; vertical-align:top;"
-|Take note that, when the opponent turns his body and sword to the outside, above the side of the Inside Square, it is usual that his blade lose all sense of feeling, or at the least, that it naturally becomes very weak. That is when one must put these last to actions into practice, but taking great care to observe that, when there remains any small amount of force in his blade, to never disengage from it, but when you have previously set your right foot down on the ground, and that the left is being already drawn up to follow. But if your opponent has skill and finesse, and when he keeps the blades in contact with a vigourous ively, Strong, or Very Strong degree of force, such that will allow him to sense your intentions, then it is not at all advisable to disengage, because he would have the means to close the line against you. One must then apply the actions which are shown in the 2nd and 5th Circle, of which the latter explanation follows, below.
-|Notez, quand l’adverſaire ſe deſtourne le corps avec l’eſpee en dehors, au deſſus le coſté du Quarré Inſcrit, que c’eſt alors le plus ordinaire, que ſa lame en perd le Sentiment, ou à tout le moins qu’elle s’en affoiblit fort, d’autant que la Nature meſme l’y convie. Et c’eſt alors qu’il faut mettre ces dcux dernieres operations en pratique, en obſervant fort ſerieuſement quand il y reſte quelque petit ſentiment, de ne la quitter jamais, que vous n’ayez preallablement avancé & planté le pied droit en terre, & que le gauche ſoit deſia en aćte d’en continuer la pourſuite. Mais ſi le contraire y va par fineſſe, & qu’il laiſſe les lames accouplées en bonne Vigneur Vif, fort, ou plus fort, ce que le Sentiment vous fera cognoiſtre, alors il ne vous ſera nullement loiſible d’abandonner ſon l’eſpee, par ce qu’il auroit moyen de vous fermer la ligne, mais il y faudra appliquer les operations qui vous ſont monſtrées és Cercles 2. & 5. du dernier deſquels ſuit l’explication.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 5'''
-|'''Cercle N.5.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander, having missed his chance to work while his opponent was moving, or if he could easily be hit himself, maintains a reasonable sense of contact, he raises his left foot from where it was placed at the Second Instance, moves it smartly forward, and places it where the Diameter crosses the Inside Square, at the letter S, and, while casting his opponent’s sword aside,  turns his left side forward and inside the perpendicular lines.''
-|''Alexandre s’ayant laiſsé eſchapper l’oportunité de travailler durant le mouvement de ſa partie adverſe, ou bien que l’attouchement luy raporte, qu’il retient un raiſonnable ſentiment, il eſleve le pied gauche du lieu ou il eſtoit planté à la Seconde Inſtance, l’avance tout bellement, le plante finalement en deça le Diametre ſur le quarré inſcrit devant la lettre S, & ſe met le coſté gauche du corps (en aſſujettiſſant l’eſpee contraire) un peu d’avantage au dedans les perpendiculaires''
-|- style="font-family: times, serif; vertical-align:top;"
-|After Zachary has completed this movement, we see that he has turned his body with his sword above the line of the Inside Square. His opponent has failed to make a move against him while he did so, or perhaps did not wish to because he felt himself constrained by a sufficient amount of force, or finally, because he wished to allow him to perform this move. Alexander then begins to work from where he was at the Second Instance, he raises and slowly moves his left foot forwards, before he sets his foot back on the ground by moving his left side forward, he pauses briefly, taking great care to note the force of his opponent’s sword, or if he intends to try something else. But as he feels nothing, he sets his foot down on the ground within the Inside Square, with his toes in front of the letter S. moving his left side forwards and into the angle between the two swords, his body extended, knees straight, and right foot following a bit behind beyond the letter G, as is shown in the figure.
-|Apres que <font style="font-variant:small-caps">Zacharie</font> à conduit ce mouvement à fin, aſſavoir qu’il s’eſt tourné le corps avec l’eſpee deſſus le coſté du Quarré Inſcrit; l’adverſaire ayant failli de travailler durant le meſme temps, ou ne l’ayant pas voulu faire pour ce que il ſentoit y eſtre conſervé un Poids raiſonnable, ou finalement qu’il luy ait voulu accorder de parfaire ſon intention: <font style="font-variant:small-caps">Alexandre</font> pourſuit donc à travailler de la Seconde Inſtance où il eſtoit planté, il eſleve, & avance lentement le pied gauche, & avant qu’il le laiſſe toucher la terre par l’avancement du coſté gauche, il en fait une petite pauſe, prenant ſoigneuſement garde au Poids de ſon adverſaire, s’il vouloit taſcher d’aventure à faire autre choſe; mais puis qu’il ne ſe meut point, il plante le pied en terre au dedans du Quarré Inſcrit, avec les orteils devant la lettre S. entrant du coſté gauche au dedans de l’angle des deux eſpees, le corps eſtēdu, les genoux roides, & le pied droit traināt un peu apres outre la lettre G; comme il ſe voit en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 6'''
-|'''Cercle N.6.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''At the very moment when Alexander is entering into the angle with his left foot and side, at the point when he is just committed to moving forward, Zachary withdraws his left foot backwards, at the same time bending his arm and lifts the guard above his head, then moves his weight back onto his front foot, and gives his opponent an imbrocata thrust to the left side of his torso.''
-|''Cependant qu’Alexandre eſt en aćtion d’entrer avec le pied & coſté gauche au dedans de l’angle, à l’inſtant qu’il commence à tomber; Zacharie ſe recule en arriere, moyennant le pied gauche, ſe courbant au meſme temps le bras de l’eſpee avec la garde par deſſus la teſte, puis il recharge le corps ſur le pied de devant, & donne à ſon Contraire un coup d’imbrocade au coſté gauche de la poitrine.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action proceeds from the previous, in the time that Alexander takes to enter with his left foot, just as his body is about to fall forwards. Zacharie withdraws his rear foot backwards. While bending his arm and raising his guard above his head, he shifts his weight onto his front foot and bends his wrist to aim his tip at his opponent’s left side, as his shown in the figures.
-|Ceſte operation procede en ſuite de la precedente, au temps qu’<font style="font-variant:small-caps">Alexandre</font> fait l’intrade du pied gauche, iceluy eſtant en train de tomber enſemble avec le corps. <font style="font-variant:small-caps">Zacharie</font> donc retire le pied de derriere, en hauſſant & courbant cependāt le bras de l’eſpee par deſſus ſa teſte, & en ramenant la charge du corps ſur le pied de devant, il aſſene ſa pointe en ligne courbe au coſté gauche de ſon Adverſaire; ſuivant la repreſentation des figures.
-|- style="font-family: times, serif; vertical-align:top;"
-|If Alexander were to make his move inside without a pause before he sets his left foot down, his opponent could easily hit him with this imbrocata. Thus it is absolutely necessary to take good care of what was noted in the previous Circle. And, in fact, it is the only reason we have shown you this danger. And now here follows the counter to this.
-|S’il advient qu’<font style="font-variant:small-caps">Ale</font>xandre face l’intrade ſans pauſer avant qu’il plante le pied gauche, l’Adverſaire le pourra fort facilement toucher de ceſte imbrocade. Dont il eſt tres-neceſſaire de prendre bonne garde à ce qui eſt annoté ſur le Cercle precedent. Et de fait, c’eſt la ſeule cauſe pourquoy nous en avons voulu vous repreſenter le danger devant les yeux: duquel il s’eſuit maintenant le Contraire.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 7'''
-|'''Cercle N.7.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Zachary tries to perform the same imbrocata. Alexander turns his left side away to the outside, inverting his sword-arm so the guard, and particularly the interior branch of the cross-guard is turned up above the height of his head and aiming the tip of his sword at his opponent’s face.''
-|''Zacharie voulant donner encores la meſme imbrocade; Alexandre ſe deſtourne au meſme temps le coſté gauche en dehors, renverſant le bras de l’eſpee avec la garde & notamment la branche interieure en haut par deſſus la meſure de la teſte; en mettant ſa pointe devant le viſage du Contraire.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Here we see the same actions as in the previous circle, but in this case, as Alexander moves his left foot, before he sets it on the ground, he pauses briefly, as we cautioned before. Thus his opponent did no know when to begin to move to attack him in the same way as before, with a bent-arm because he could not instantly feel his move. To interrupt Zachary’s strike, he sets his foot down suddenly along the line M-S, while twisting to withdraw his left side, he leans back on his right leg. Keeping his arm straight, he turns the interior branch of his crossguard upwards above his head, so that he catches his opponent’s blade, and puts his sword-tip precisely in front of his face, needing only to execute the finish, as is shown by the figures.
-|C’eſt icy encores la meſme operation du Cercle precedent, toutesfois <font style="font-variant:small-caps">Alexandre</font> en avançant le pied gauche, avant qu’il le laiſſe toucher à terre, il en a fait une petite pauſe, ſelon l’advertiſſement, que nous venons d’en donner. Dont ſa partie adverſe n’a ſceu commencer pluſtoſt à ſe mouvoir pour le bleſſer derechef en la meſme ſorte en ligne courbe, qu’il ne s’en ſoit apperceu tout au premier Inſtant par le ſentimēt: & pour luy rompre le coup, il met tout ſondainement le pied à terre ſur la ſećtion de la ligne M S, retirant enſemble le coſté gauche, & ſe panchant à l’envers ſur le pied droit avec le bras roide, en tournant & hauſſant la branche interieure de ſa garde plus haut que ſa teſte, de ſorte qu’il en enſerre la lame Contraire, & luy met la pointe par courtoiſie devant le viſage, ne tenāt qu’à luy d’en faire l’execution; comme il eſt repreſenté par les figures.
-|- style="font-family: times, serif; vertical-align:top;"
-|Note how Zachary has bent his arm to thrust his imbrocata, so Alexander bent his own arm to be able to defend against it, while at the same time attacking with his sword-tip inverted.
-|Notez comme Zacharie ſe courbe le bras en dehors, pour tirer ſon Imbrocade, qu’Alexandre courbe le ſien au contraire pour faire ſa defenſe, luy oppoſant au meſme temps la pointe renverſéé.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 8'''
-|'''Cercle N.8.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''This is a follow-on from Circle No 5. Alexander leans forward onto his front foot, leaving the other behind raising his heel so he rests on his toes. Then at the same time that he moves his left foot forward to the letter S, he seizes his opponent’s hilt. By disengaging the blades he moves his sword-tip against his opponent’s chest.''
-|''Ceſt icy une pourſuite du Cercle 5. Alexandre ſe va pancher ſur le pied de devant, en laiſſant trainer un bien peu l’autre apres ſur les orteils; ce qu’eſtant fait, il s’avance quand & quand le pied gauche avec le milieu ſur la lettre S, en faiſant prinſe de la garde contraire, moyennant le deſtachement des lames deſquelles il conduit la poinćte de la ſienne contre la poitrine de l’adverſaire.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action follows on from Circle No 5 where <font style="font-variant:small-caps">Alexandre</font> has entered into the angle between the swords, with his foot very close to the letter S. He then leans the left side of his body forward onto this left foot, and draws the other foot along behind. At the same time, he raises his left hand between, and as high as, the two swords, the same way as <font style="font-variant:small-caps">Alexandre</font> does in Circle No 10. Having done this, he immediately skips his left foot over, so the middle is on the letter S, and and that the same time lifts his sword from the other so that he can grab the hilt from above, and pull it towards himself while turning the interior branch of the crossguard upwards. He draws his right foot up to where the line crosses the collateral G-M while at the same time holding the guard against his side with the crosspiece vertical and sets his sword-tip exactly against his opponents chest, as is shown in the figure.
-|Ceſte opearation procede en ſuite du Cercle 5. où <font style="font-variant:small-caps">Ale</font>xandre eſt entré dedans l’angle avec le pied gauche devant bien pres de la lettre S. Maintenant donc il ſe va pancher le coſté gauche du corps en avant ſur le meſme pied, en ſorte que l’autre traine un peu derriere, hauſſant au meſme temps le bras & la main gauche entre deux & à l’egal des eſpees, comme il eſt repreſenté par la figure d’Alexandre au Cercle N.10. Ce qu’ayant fait, tout à l’inſtant il s’avance le pied gauche comme en ſantelant avec le milieu ſur la lettre S, & à ce meſme temps il oſte ſon eſpee de deſſus l’autre, dont il fait prinſe de la garde par en haut, la tire à ſoy en tournant la branche interieure en haut, menant le pied droit en ſuite de l’autre juſqu’à l’entrecoupure de la collaterale G M. s’affermiſſant au meſme temps la garde contre les coſtes avec la branche interieure verticale, & la pointe preſantée par courtoiſie à la poitrine de l’adverſaire: comme les figures repreſentent.
-|- style="font-family: times, serif; vertical-align:top;"
-|During the time it takes for Alexander to perform this action, leaning over his left foot and raising his hand and arm ready to grasp the hilt, he must above all pay attention to the feel of the blades, so that he may immediately perceive if the force from his ennemy’s blade weakens, or if he begins to withdraw his blade, possibly moving his body backwards, as well. In which case, he could not effectively grab the hilt. On the contrary, he must instead move his right side forward with his arm and sword at the same time so as to hit his opponent’s face.
-|En ceſte operation au temp qu’Alexandre s’avance pour ſe pancher ſur le pied gauche, & qu’il hauſſe le bras & la main pour faire preparation de la prinſe, il faut qu’il obſerve ſur toutes choſes le Sentiment des lames, afin qu’il ſe puiſſe touſiours appercevoir à temps, ſi l’Ennemy n’affoiblit pas la ſienne, ou s’il ne la retire point en arriere, meſme avec reculement du corps. Car en ce cas là la prinſe de la garde ne pourra ſortir a effet. Au contraire il faut alors avancer le coſté droit, enſemble le bras & l’eſpee pour toucher au meſme temps au viſage.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 9'''
-|'''Cercle N.9.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''This is another follow-on from Circle No 5, which happens as soon as Alexander has begun to move his upper body forward onto his left foot.  Zachary increases the force of his blade, to push Alexander’s aside as Alexander is bringing his right foot up behind. As soon as he realizes from the feel that his opponent’s blade will escape overhead out of his control, and thus will close off any approaches from the right side, he moves his left foot along the middle of the line of the Inside Square, where he puts his weight on his bent knee, and sets his sword-tip against his adversary’s right side.''
-|''C’eſt encor une autre pourſuite du Cercle 5. Dés qu’Alexandre commence à approcher la partie ſuperiure du corps en avant, pour ſe charger ſur le pied gauche; Zacharie augmente le ſentiment de ſa lame, en uſant de force pour tranſporter celle d’Alexandre, ſur quoy Alexandre approche durant le meſme temps le pied droit, & d’autant qu’il recognoiſt par le ſentiment, que la lame contraire s’en va luy eſchapper par deſſus, & icelle affermiſſant contre ſes coſtes au coſté droit, en marchant du pied gauche deſſus le milieu du Quarré Inſcrit, où il fait la charge du corps deſſus avec le genouil plié, en aſſenant ſa pointe au coſté droit de l’adverſaire.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action also follows from Circle No 5. As soon as Alexander begins to move his left side and to lean over his left foot which is already set on the ground, his opponent increases the amount of force on his blade. Against this, Alexander at first resists, as he brings his right foot up behind him. But as his adversary continues to increase the force against his blade until it is enough to move them both to the side. Alexander recognizes from the feel that this force has become powerful enough, that if he suddenly lets them go, they will fly overhead and far off centre. So he quickly pulls his own blade off his opponent’s and presses his guard against his right side, while moving his left foot to the middle of the line N-X. He shifts his weight onto his left foot, then bends his knee while he moves his right foot in a circular motion to the letter M along the Perpendicular Diameter and at the same time wounds his opponent under the right armpit. This is shown by the figures.
-|Ceſte operation procede auſſi du Cercle 5. Des qu’Alexandre commēce à avancer le coſté gauche, pour ſe pancher ſur le meſme pied qui eſt deſia planté; en ce meſme temps ſon Contraire luy augmente le poids de ſa lame: à quoy Alexandre fait un peu de reſiſtence au commencement, en approchant le pied droit; mais puis que l’Averſaire continue à l’augmenter de plus en plus, juſqu’à uſer de force pour tranſporter les lames; & qu’Alexandre cognoiſt par le Sentiment, qu’ell s’en va forligner d’elle meſme par deſſus & outre ſa teſte, voire & qu’elle y fera un aſſez grand Angle; il la laiſſe enfuir, en oſtant & affermiſſant la ſienne a ſon coſté droit avec la garde, avançant enſemblement le pied gauche ſur le milieu de la ligne NX, où il ſe charge & pance le corps deſſus avec le genouil plié cependant, le pied droit pourſuit en forme circulaire, juſqu’au Diametre perpendiculaire, lettre M. & cependant il bleſſe ſa partie adverſe en l’aixelle droite; ſuivant la repreſentation des figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 10'''
-|'''Cercle N.10.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|This one also follows from Circle No 5. Here Zachary waits to see what happens. Alexander moves his left side forwards, at the same time that he lifts his right foot onto his toes, and draws it up behind him,  he raises his left arm and hand level with and between the two blades, as is shown by the figures.
-|Voicy qui procede encor du Cercle 5. quand <font style="font-variant:small-caps">Zacharie</font> en attend la pourſuite, <font style="font-variant:small-caps">Zacharie</font> s’avance le coſté gauche du corps, entrainant quand & quand le pied droit apres ſur les orteils, & hauſſant au meſme temps le bras & la main gauche à l’egal & entre les deux lames; comme il eſt repreſenté en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 11'''
-|'''Cercle N.11.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|In this one, we continue on, where Alexander skips his left foot to the letter S, and, then he leans his body forward, in such a way that his right foot is raised up as it follows on. At the same time, he puts his hand over top of both blades and seizes his opponent’s hilt, as is shown by the figures.
-|Ceſt la continuation du precedent: où <font style="font-variant:small-caps">Alexandre</font> s’avance par un petit ſaut avec le pied gauche ſur la lettre S, panchant le corps ſur le devant, en ſorte que le pied droit s’eſleve quand & quand en haut en ſuite de l’autre, & au meſme temps en portant la main par deſſus le long des deux lames, il fait prinſe de la garde contraire, commes les figures demonſtrent.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 12'''
-|'''Cercle N.12.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|Alexander continues the previous action, taking a large about-face step, swinging his already-raised right foot all the way around behind his adversary. He then leans back onto his right foot, raises his left fott, and pulls the guard that he is grasping in his hand upwards. Meanwhile, he presses his own guard gainst his right side, and the tip of his sword against the right side of his opponent, as can be seen by the figures in the image.
-|<font style="font-variant:small-caps">Alexandre</font> pourſuit à continuer la precedente operation, voltant un grand pas à l’envers, avec le pied droit qui eſtoit j’à eſlevé, en ſorte qu’il le plante meſme derriere le corps de l’adverſaire, puis il ſe va pancher à l’envers ſur le meſme, en eſlevant le pied gauche, & attirant à ſoy vers le haut la garde qu’il tient en prinſe, affermiſſant cependant la ſienne au coſté droit, & ſa pointe au coſté droit de la poitrine de ſon contraire, comme il ſe voit aux figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 13'''
-|'''Cercle N.13.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|This is the final execution of the movement which follows from the preceeding actions. That is, Alexander steps forward, putting his left foot down in between his opponent’s feet, shifting his weight onto it, bending his knee, and leaning his body forward, while driving his thrust through his opponent’s body, as it is shown by the figures.
-|Ceſt la derniere continuation & execution en ſuite des precedēts: aſçavoir qu’Alexandre s’avāce, & entre avec le pied gauche vers le contraire, juſqu’à le planter entre les deux pieds d’iceluy, en faiſant la charge deſſus avec le genouil plié & le corps panché de meſme, & donnant par meſme voye le coup d’eſtocade à ſon homme à travers le corps; ainſi qu’il appert aux figures.
-|- style="font-family: times, serif; vertical-align:top;"
-|
-|
-|- style="font-family: times, serif; vertical-align:top;"
-|What is most noteworthy and special in this Plate as compared to the others, is the maner of putting oneself in between the angles, on which the moves which follow depend. Inasmuch as there are an infinite number of possible opportunities and it is impossible to show each and every variation of sequences, in any case, it is quite certain that Zachary will not know of any way to counter against any move which is similar to the the ones shown here. As soon as he opens the angle, however much or little, as long as there is an angle, Alexander should be ready to enter in, not to throw himself recklessly in do-or-die desperation, but with prudence, and with such sensibility, that his adversary cannot make the least move, without his being fully aware of it, so that he can unrestrainedly hit with a mortal blow, as shown in Circles No 3 & 4. Even if he has created an opening by pushing with his blade, Alexander does not step in with either his right or left foot, unless the opening is large enough and he can see a sufficient opportunity. This he does nonetheless with the same adroitness and care as before, being very careful above all, not to throw away the advantageous position he worked to gain, with an ill-advised rush. And after he has stepped, in, before he puts his advantage to effect, either by seizing his opponent’s guard, or by executing a strike, he always takes the same care. In sum, he is never in haste, but waits until his preparations are complete and he is ready to put an end to this undertaking, as long as he keeps the true timing, so that the opportunity does not escape from him, nor does he act too soon and thus do all his work in vain. When he proceeds deliberately, he is better able to be on his guard, and his adversary can do nothing that cannot be easily interrupted, nor can his adversary do anything much to disrupt him, and he himself is always able to change his actions, according to the situation.
-|Ce qui eſt le plus notable & ſpecial en ce Tableau preſent par deſſus les autres, c’eſt la maniere de ſe mettre dedans les angles, avec les ſuites qui en dependent. Car encores que les occaſions ſoyent infinies, & qu’il ſoit impoſsible de repreſenter touts les changements qui pourroyent ſurvenir un à un, toutesfois il eſt certain que Zacharie ne ſçauroit rien pratiquer en telle occaſion avec eſpees touchantes, qui ne puiſſe aiſement ſe raporter à ces meſmes leçons que nous en avons propoſées. Car dés qu’il ouvre l’angle, ſoit grand, ſoit petit, moyennant que ce ſoit un angle, Alexandre ſe prepare pour y entrer, non pourtant qu’il ſe precipite là dedans à corps perdu, comme pour mourir ou vaincre à la deſeſperade. Mais c’eſt avec prudence, & avec telle obſervation du Sentiment, que l’adverſaire ne peut faire à la moindre faute à l’obſerver pareillement de ſa part, qu’il n’en ſoit incontinent touché d’une mortelle atteinte, comme il ſe voit és Cercles 3. & 4. Et meſme apres qu’il l’aura ouvert avec bon ſentiment, Alexandre ne laiſſe pourtant de s’y loger dedans avec le pied droit ou gauche devant, ſelon que l’ouverture eſt grande & l’opportunité qu’il en trouve. Ce qu’il fait cependant avec la meſme adreſſe & circonſpećtion qu’auparavant, ſe gardant ſur tout de prodigner ſes mouvements par une viſteſſe mal adviſée. Et apres qu’il eſt entré dedans, avant que de mettre l’advantage en œvre, ſoit à faire prinſe de la garde contraire, ou execution de pointe ou de taille, que ce ſoit touſiours avec la meſme prudence. Somme, que jamais il ne ſe haſte juſqu’à tant que toutes les preparations ſoyent faites, & qu’il ſoit venu ſur le point de mettre fin à l’entreprinſe. Si lors s’en eſt le vray temps, afin que l’occaſion ne luy eſchappe hors des mains, non point devant afin qu’il ne ſe travaille en vain. Car quand il y va lentement, il eſt mieux ſur ſes gardes, & n’y peut rien arriver de par l’Adverſaire qui le puiſſe grandement mettre en deſordre, par ce qu’il ne fait rien luy meſme qu’il ne puiſſe touſiours changer à temps, quand l’occaſion ſe change.
-|}
 {{master end}}
 {{master begin
-  | title = Book 1 - Tableau / Plate XII - Stepping inside the Angle betweeen the Swords.
+  | title = Book 1 - Tableaux / Plates XII - XXII
   | width = 60em
 }}
-{| class="floated master"
+{{main|Gérard Thibault d'Anvers/Plates 23-33}}
-! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
-! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
-|-
-|Colspan="2"|[[file:Thibault L1 Tab 12.jpg|600px]]
-|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
-|EXPLANATION OF THE ACTIONS IN THE TWELFTH PLATE.
-|DECLARATION DES OPERATIONS DV TABLEAV DOUZIEME.
-|- style="font-family: times, serif; vertical-align:top;"
-|We follow here, in this twelfth plate, the example of those who are concerned with fortifications. After they have taught to their students the form of ideal designs, they then briefly show them how, in practice, these must be adapted to the particulars of each place. Moreover, it is impossible to have site exactly one would wish. Thus, we do the same for our System, because we have already explained the manner of entering into the sword-angles, which is one of the points of the greatest importance, we shall now show the versatility of this move and the multiplicity of circumstances in which the scholar can prevail. Such contemplation will be very useful and very easy for them, considering the small number of precepts to keep in mind on which we can build, and which dominate even against the most unusual moves. To do this, we propose to examine a few particular examples, where Zachary opens up the angle in diverse ways, of which none are particularly strange. And in fact he allows opportunities of all sorts. Some ones which consist of a simple defence, others which include attempts to attack. At some times he will completely open up the angle, at other times he will do no more than prepare to. But all with such moves as he hopes will will create confusion by their novelty. But why, then, do this? These situations are useless to learn, because they are so rare, you say? On the contrary, the strangest situations are those that are most necessary to learn. For your enemy will not fail to perform any strange action, if he thinks it will confuse and confound you. Furthermore, whether or not he performs these moves with the same intent and the same follow-on exactly as we show here, nevertheless, you will find yourself often enough in similar situations such as these by chance one way or another. Therefore, be prepared for everything. For in the practice of Arms, after a mistake is made, there is neither valid excuse nor available recovery.
-|Nous enſuivons en ce Tableau XII. l’exemple de ceux qui traitent les matieres des fortifications. Car apres qu’ils ont enſeigné les figures regulieres, ils ſe contentent de monſtrer briefvement à leurs diſciples, qu’en la Pratique il les faut accommoder ſelon les particularitez de chaſcune place; d’autant qu’il eſt impoſſible de les avoir touſiours à ſouhait. Ainſi donc pour faire le meſme en noſtre Exercice, puis que nous venons de declarer la maniere d’entrer dedans les angles, qui eſt un de points de plus grande importance; monſtrons maintenant combien l’uſage en eſt ample, & comme l’Eſcholier s’en pourra prevaloir en pluſieurs occurrences. Contemplation qui luy ſera tresutil, & tresaggreable, conſiderant que le petit Nombre de ſes preceptes eſt baſtant à tenir en devoir voire & à dompter meſme des mouvements ſi extraordinaires. Pour ce faire nous propoſerons icy quelques particularitez d’exemples, ou Zacharie luy fait l’ouverture de l’angle en diverſes manieres, & aucunes d’icelles bien eſtranges. Et de fait il luy en donne des occaſions de toutes ſortes; les unes qui conſiſtent en ſimple defenſe, les autres conjointes avec intention d’offenſer; tantoſt il ouvre l’angle tout à fait, tantoſt il n’en fait que la ſeule preparation; le tout avec de tels mouvements, qu’il eſpere luy en troubler le jugement par la nouveauté meſme. Mais quoy donc? Direz vous, ce ſont des occaſions inutiles, pour ce qu’elles ſont rares? Au contraire, le plus eſtranges ſe ſont les plus neceſſaires. Car l’Ennemy ne manquera pas à faire une aćtion eſtrange, s’il penſe qu’il vous en mettra en deſordre; & d’autrepart combien qu’il ne les face pas avec la meſme intention, & en la meſme ſuite qu’elles ſont icy repreſentées, toutesfois on ſe retrouve aſſez ſouvent en telles & ſemblables ſituations par les changements des occaſions de part & d’autre. Soyons donc preparez à tout. Car au fait des Armes, apres que la faute eſt commiſe, il n’y a ny remede ny excuſe valable.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 1'''
-|'''Cercle N.1.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander, has subjugated his opponent’s sword at the Second Instance, has stepped with his foot to the Third, in such a way that his left foot is in the process of following along, with the intent to wound his opponent with the length of his blade. At this very moment, Zachary turns his right side to the outside, raising his arm and sword to an obtuse angle above the Inscribed Square X-N, holding it with some force. Alexander sees this, he allows his own tip to rise up, lowering and closing his elbow against his side, and setting his left foot on the ground inside the Quadrangle at the letter O.''
-|''Alexandre ayant ſujetté l’eſpee contraire à la Seconde Inſtance, & puis marché avec le pied droit à la Troiſieme, en ſorte que le pied gauche eſt deſia en train à pourſuivre l’autre, avec intention de bleſſer le Contraire au long de ſa lame; en ce meſme temps Zacharie ſe deſtourne le coſté droit en dehors, hauſſant le bras & l’eſpee en angle obtus au deſſus le coſté du Quarré Inſcrit X N, retenant le poids en force. Dequoy s’appercevant Alexandre il laiſſe aller au meſme temps ſa pointe contremont, en abaiſſant & affermiſſant la coude à ſon coſté, & mettant le pied gauche à terre dedans le Quadrangle à la lettre O.''
-|- style="font-family: times, serif; vertical-align:top;"
-|After Alexander has subjugated his opponent’s blade moving from the First to the Second Instance along the Diameter at G, and taken a step with his right foot along the side of the Inside Square to the letter N, intending to slide the point of contact up his opponent’s blade to give him a thrust to the face, he draws his left foot along the path following the other. At this time, Zachary turns his toes forward towards the diameter, without leaving his Quadrangle, in such a way that his right side is withdrawn a quarter turn, bringing his extended arm with his sword up into an obtuse angle along the side of Inscribed Square, X-N, with some force, so that the thrust to the face which his adversary had thought to give him is diverted aside. At the same time, Alexander drops his arm and guard down, while his sword-tip comes up, and he closes his elbow against his right side to protect himself, and he sets his left foot down inside the Quadrangle at the letter O, while keeping his body erect. This is shown by the figures.
-|Apres qu’<font style="font-variant:small-caps">Alexandre</font> a ſujetté l’eſpee contraire, de la Premiere Inſtance à la Seconde au deça le Diametre lettre G. & ayant conſequemment cheminé avec le pied droit par la trace du Quarré Inſcrit juſqu’à la Troiſieme à la lettre N, pour en graduant l’eſpee contraire luy donner une eſtocade au viſage, dont le pied gauche eſt deſia en train de cheminer apres l’autre : à ce meſme temps <font style="font-variant:small-caps">Zacharie</font> ſe tourne les orteils en devant vers le Diametre ſans bouger de ſon Quadrangle, en ſorte que le coſté droit du corps s’en retire à quartier, menant le bras eſtendu avec l’eſpee en haut en angle obtus au deſſus le coſté du Quarré Inſcrit X N avec poids de force; de façon que l’eſtocade, que l’adverſaire luy penſoit donner au viſage, en eſt divertie : Au meſme temps <font style="font-variant:small-caps">Alexandre</font> s’abaiſſe le bras & la garde, & avec la pointe dreſſée contrement il ſe l’affermiſt coſté droit pour defenſe de la partie inferieure de ſa perſonne, mettant enſemblement le pied gauche à terre, dedans e Quadrangle à a lettre O, avec le corps eſtendu; comme les figures demonſtrent.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 2'''
-|'''Cercle N.2.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander raises his right foot in the air, while forcing his opponent’s sword down a little, which (while setting his foot down on the ground before the letter S) he subjugates it, turning his left side forward, and leaning his body even further forward on the same foot inside the angle, while simultaneously drawing his left foot along up to the letter N.''
-|''Alexandre eſleveant le pied droit en l’air, abaiſſe enſemble quelque peu l’eſpee de ſon Contraire, laquelle (en plantant le meſme à terre devant la lettre S) il aſſujettit, avançant le coſté gauche, & panchant du corps ſur le devant encores ſur le meſme pied au dedans de l’angle, entrainant quand & quand le pied gauche derriere juſqu’à la lettre N.''
-|- style="font-family: times, serif; vertical-align:top;"
-|As soon as Alexander has completed the preceeding action, he pauses briefly, so as to see if his adversary will try to work against him, so he can counter it. But as soon as he sees him waiting, he follows on, moving forward and raising himself with his right foot while lowering the swords with his sense of contact and likewise turning his left side forward, in such a way that the instant his foot lands on the ground in front of the letter S, and his weight comes down on it, he subjugates his opponent’s blade, then leans his body onto the forward foot, drawing his left foot along behind up to the letter N. Thus he puts himself inside the angle of the swords, and inside the lines of his ennemy; As is evident in the portrait of the figures.
-|<font style="font-variant:small-caps">Alexandre</font> dés qu’il à parachevé l’aćtion precedente, fait une petite pauſe, afin que ſi l’adverſaire taſche d’avēture à travailler deſſus, il y puiſſe donner order. Mais quand il le voit attendre, il pourſuit, en avançant & hauſſant le corps avec le pied droit, & abaiſſant enſemble un peu les lames au rapport du Sentiment, avec pareil advancement du coſté gauche; en ſorte qu’à l’inſtant que le corps deſcend, & que le pied droit tombe à terre devant la lettre S, il aſſujettit l’eſpee de l’adverſaire, ſe panchant du corps ſur le devant, & entrainant le pied gauche derriere juſqu’au point N. Dont il ſe met par ainſi dedans l’angle, & au dedans des perpendiculaires de l’ennemy; comme il eſt evident au pourtrait des figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 3'''
-|'''Cercle N.3.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|Alexander continues the movement by leaning further forward, while raising his left hand between them over the swords. Then, he simultaneously moves forward, shifts his weight entirely onto his right foot, raises his left foot, reaches his left hand above the blades to seize the whole of his opponent’s guard and moves his left side leaning still further forward, as we see portrayed in the figure.
-|<font style="font-variant:small-caps">Alexandre</font> continuant l’operation encommencée, ſe panche un peu davantage, hauſſant tout d’un temps en avant ſa main gauche entre deux & à l’egal des lames, puis il s’avance quand & quand en ſautant du pied droit, eſlevant en ſuite le pied gauche, & prenant enſemble par deſſus le long des lames la garde du Contraire avec ſa main gauche, le coſté gauche du corps panché encor davantage; ainſi qu’on le voit pourtrait en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 4'''
-|'''Cercle N.4.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander follows on from the previous movements, stabbing his opponent’s right side with the sword-tip.''
-|''Alexandre pourſuit les operations precedentes, donnant à ſon contraire un coup de pointe au coſté droit par le fil de ſa lame.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Here the movement carries on, where Alexander suddenly takes his already raised left foot and makes a sudden large circular step outside the Circle, off to the side of his opponent.  This he follows with a similar very quick circular move of his right foot, in a volte, taking a large step behind his left foot, he traps his opponent’s sword as he turns his opponent’s hand and pushes the guard away, which creates the opening to stab his opponent’s right side along the line of the blade, as his shown in the figure.
-|Ceſt encor la continuation du precedent, ou <font style="font-variant:small-caps">Alexandre</font> pourſuit ſoudainement à faire un grand pas circulaire avec le pied gauche, qui eſtoit deſia eſlevé, au dehors du Cercle à coſté de l’adverſaire; pourſuivant pareillement en cercle avec l’autre pied, aſſavoir le pied droit, qu’il avance & volte de pareille viſteſſe, faiſant un grand pas derriere le pied gauche, pouſſe & tourne cependant le bras & la garde contraire au loing, & luy donne par le fil de la lame un coup de pointe au coſté droit; comme il eſt repreſenté en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 5'''
-|'''Cercle N.5.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander completes the final execution of the movement by pushing his thrust with full force through his opponent’s body.''
-|''Alexandre faiſant la finale execution pouſſe ſon eſtocade au travers le corps de ſon Contraire de pleine force.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This is the final follow up to the previous moves, done by Alexander immediately raising his left foot and stepping into his opponent, putting his weight down on it, and thereby pushing his thrust with full force through his opponent’s body.
-|C’eſt la derniere ſuite de la continuation precedente, fait par <font style="font-variant:small-caps">Alexandre</font> en eſlevant tout à l’inſtant & avançant le pied gauche devers ſon Contraire, en faiſant la charge du corps deſſus, & luy pouſſant par ainſi l’eſtocade à travers le corps de pleine force.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 6'''
-|'''Cercle N.6.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action stems from Circle No 1, in the case when his opponent puts more force behind his blade. Thus Alexander continues to work against his opponent, taking a large, deliberate step straight forward with his right foot, moving his body in closer to his sword, and being very attentive to the feel, so to be aware if perchance his opponent comes to change the force he is using and so change the resuting actions as well.
-|Ceſt aćtion prend ſon origine du Cercle 1. à condition, qu’il y ait plus de poids en la lame contraire. Dont <font style="font-variant:small-caps">Alexandre</font> pourſuit à travailler, en faiſant un grand pas tout droit en avant lentement avec le pied droit, s’approchant le corps plus pres de ſon eſpee, & prenant fort ſerieuſement garde au ſentiment, ſi daventure le Contraire venoit à changer le poids, pour changer auſſi l’operation.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 7'''
-|'''Cercle N.7.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|This continues from the preceeding Circle, where Alexander takes a further large, deliberate step with his left foot, straight forwards, out beside his adversary. After which he raises his right foot and brings it up near to the left one. As he feels that his opponent’s sword still resists with the same degree of force, he turns on the ball of his left foot, to face him.
-|C’eſt la continuation du precedent, ou <font style="font-variant:small-caps">Alexandre</font> marche encor un autre grand pas tout droit en avant & lentement avec le pied gauche à coſté de l’adverſaire; pourſuivant apres à eſlever & avancer le pied droit, lequel il joint tout pres de l’autre; & comme il ſent que la lame contraire continue encor au meſme poids, il ſe tourne ſur le pied gauche qui eſt planté tout droit contre luy pour le regarder.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 8'''
-|'''Cercle N.8.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander carries on the preceeding actions and, entering in towards his opponent, he aims the tip of his blade into his right side, thrusting with full force.''
-|''Alexandre pourſuit les operations precedents, & entrant devers le Contraire luy aſſene ſa pointe au coſté droit, l’executant de pleine force.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Continuing to feel the same degree of force against his blade, Alexander carries on his actions, disengaging the swords (so the other passes over his head) and at the same instant he enters in towards his opponent with the right foot, which was raised and ready, while aiming his sword-tip at the right side, and then driving it in with full force and his body leaning behind it, in accordance with the figures.
-|Continuant le meſme Sentiment des lames, <font style="font-variant:small-caps">Alexandre</font> pourſuit l’operation, en deſtachant les eſpees (dont l’eſpee contraire luy paſſe par deſſus la teſte) & au meſme inſtant il entre devers le Contraire avec le pied droit, qui eſtoit deſia preparé, luy aſſenant la pointe au coſté droit, & l’executant à pleine force avec le corps panché de meſme; le tout en conformité des figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 9'''
-|'''Cercle N.9.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander has finished the actions of Circle No 1, and sees his adversary increase the degree of force resisting his blade. After he releases the sword to fly overhead, he wounds his opponent in the right side  with his sword-tip.''
-|''Alexandre ayant achevé les operations du Cercle 1. voyant que l’adverſaire luy reſiſte en augmentant le poids, apres avoir laiſſé eſchapper l’eſpee contraire il le bleſſe d’un coup de pointe au coſté droit.''
-|- style="font-family: times, serif; vertical-align:top;"
-|This is an action which follows from Circles 1 & 2. Alexander has finished the movement in Circle 1. to the point where he has raised his right foot intending to force down and subjugate his opponent’s blade, as in Circle 2. His adversary resists by greatly increasing the degree of force against his blade, enough to move the swords back. To which Alexander lifts his sword from on top, allowing the other to fly freely overhead from the intensity of the force, and at the same time enters in to the angle, by advancing his right foot, which he sets down where the line crosses the segment S-X. He wounds his opponent’s right side by a strike with his sword-tip and finishes the move with his body leaning forward, and left leg drawn up appropriately behind him, as his shown in the figure.
-|C’eſt icy une operation qui procede en ſuite des Cercles 1. & 2. <font style="font-variant:small-caps">Alexandre</font> ayant achevé celle du Cercle 1. apres avoir eſlevé le pied droit pour abaiſſer, & conſequemment pour aſſujettir l’eſpee contraire à l’exemple du Cercle 2. l’Adverſaire luy fait reſiſtance, en augmentant le Poids, & uſant de force pour tranſporter les lames. Qui fait qu’<font style="font-variant:small-caps">Alexandre</font> en oſte ſon eſpee de deſſus, laiſſant enfuir l’autre, qui luy paſſe outre la teſte par la vehemence de la force, & entrant au meſme temps dedans l’angle par advancement du pied droit, qu’il plant à la ſećtion de la ligne S X, il le bleſſe d’un coup de pointe au coſté droit, & en fait la finale execution avec le corps panché en avant, le pied gauche trainant proportionnellement derriere; comme il eſt repreſenté au pourtrait de ſa figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 10'''
-|'''Cercle N.10.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Zachary resists by increasing the force against his blade. Alexander slides the point of contact down the blade to prepare the next move.''
-|''Zacharie faiſant reſiſtance hauſſant le poids des lames, Alexandre deſgradue les lames & ſe prepare à l’execution ſuivante''
-|- style="font-family: times, serif; vertical-align:top;"
-|This action likewise begins from Circle 2, in which Alexander is shown lowering and subjugating his opponent’s blade. Against which Zachary has tried to resist by raising and increasing the force against the blade, however, with a little less than in the previous Circle. So Alexander leans a bit further forward, while making a quick step with his right foot up to the letter S, and with his left hand seizes his opponent’s guard, then slides the point of contact down along the entire length of the blade in such a way that he pulls away as he keeps his grip on the guard, holding it out to the left. He turns his right side forward, raising his left foot, and raises his opponent’s guard up high, while turning the tip of his own blade away behind his back. Thus, he is prepared to perform the following moves, as we can see him making ready in the image.
-|Ceſte operation prend ſemblablement ſon origine du Cercle 2. auquel <font style="font-variant:small-caps">Alexandre</font> eſt repreſenté abaiſſant & aſſujettiſſant la lame cōtraire: à quoy <font style="font-variant:small-caps">Zacharie</font> à voulu faire reſiſtance, en hauſſant & accroiſſant le poids des lames, toutesfois avec un peu moindre effort, qu’au Cercle dernier precedent. Dont <font style="font-variant:small-caps">Alexandre</font> ſe panche un peu davantage, faiſant au meſme temps avec le pied droit un petit ſaut en avant à la lettre S, & avec la main gauche prend la garde contraire, enluy deſgraduant la lame entier, de ſorte qu’il ſe retire & s’affermit le bras de l’eſpee avec la garde au coſté gauche, en tournant le coſté droit devant avec le pied gauche eſlevé, pouſſant enſemblement ſon bras gauche, qui tient l’eſpee contraire en haut, & conduiſant la pointe de la ſienne contremont par derriere le dos. Voilà comme il s’eſt preparé le corps pour venir conſequemment à l’operation ſuivante; comme on l’y voit tout appreſté en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 11'''
-|'''Cercle N.11.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|This follows on from the last. Alexander, leaps with a large, circular, forward step with his left foot outside the Circle to a point almost behind his adversary, to whom he gives, by leaning forward with his body and bringing his right foot smoothly around through the air in circular motion, setting it down behind the other, a reverse cut to the thick part of his opponent’s left leg, while pressing his opponent’s arm and sword down and pinning them against his left side, as is portrayed in the figure.
-|C’eſt la ſuite du prēcedent. <font style="font-variant:small-caps">Alexandre</font> ſaute avec le pied gauche un grand pas circularement en avant au dehors du Cercle à peu pres derriere l’adverſaire; auquel il donne (en panchant du corps ſur le devant, & continuant à mener circulairement le pied droit en l’air derriere l’autre) un coup de revers au gras de la jambe gauche, pouſſant enſemblement vers le bas le bras & l’eſpee contraire, laquelle il s’affermiſt à ſon coſté gauche; ainſi qu’il eſt pourtraićt en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 12'''
-|'''Cercle N.12.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|Alexander continues with the same sequence. He suddenly moves backward and sets his foot down right behind himself, then rocks back onto it, leaning backward and lifing his left foot. As he does, he pulls his opponent’s hand and sword off to his left, and draws his own sword back to his right side, as we see represented in the figure.
-|C’eſt la continuation de la meſme ſuite, faite par <font style="font-variant:small-caps">Alexandre</font>, en retirant & plantant ſoudainemēt le pied droit en arriere, ſur lequel il ſe redreſſe & ſe panche à l’envers, en eſlevant le pied gauche, & retirant à ſoy le bras & l’eſpee contraire, meſme auſſi la ſienne, laquelle il conduit à coſté de ſa perſonne à main droite, la pointe tournée vers le bas; comme on le voit repreſenté à la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 13'''
-|'''Cercle N.13.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Here, Alexander executes his strike, and pierces his oppnent with a straight arm through the body.''
-|''Alexandre execute icy ſon coup, & perce ſa partie d’un bras roide au travers du corps.''
-|- style="font-family: times, serif; vertical-align:top;"
-|And here is the final move. Alexander steps with his left foot forward into his opponent, & leaning his body, he drives his sword, with a straight and extended arm, through his opponent’s body.
-|En voicy le finale execution. c’eſt qu’<font style="font-variant:small-caps">Alexandre</font> marche avec le pied gauche deſſus ſon homme, & en panchant le corps de meſme, il luy pouſſe d’un bras roide & eſtendu l’eſpee au travers du corps.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 14'''
-|'''Cercle N.14.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander subjugated his opponent’s sword. Zacharie tries to wound his opponent by disengaging his blade. Alexander perceives this move and swiftly follows, sliding his tip along and again subjugates it.''
-|''Alexandre ayant aſſujetti l’eſpee contraire, Zacharie taſche de bleſſer ſa partie en deſtachant ſa lame, Alexandre s’en apercevant le pourſuit vivement & graduant ſa pointe l’aſſujettiſt derechef.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Alexander has previously subjugated his opponent’s sword at the Second Instance at the letter G, along the Diameter, according to our precepts and required form. Zachary tries to circularly disengage his blade, which is subjugated underneath the guard, and raise it over Alexander’s, to wound him from above his arm. Alexander feels it is about to disengage, follows it quickly before that can happen, turning it down and outside of the intended path. He does this with his wrist, turning and sliding the point of contact up to the centre of his opponent’s sword, so it cannot escape, at least until the two swords have been raised up at an obtuse angle. Then, with his body upright, he enters in with his left foot forward as he again slides the point of contact up the sword to dominate his opponent’s sword, setting his foot down on the Diameter at the letter Q, bearing  the weight of his body on it, over his bent knee, inside the perpendicular lines, as it appears in the figure.
-|<font style="font-variant:small-caps">Alexandre</font> ayant preallablement aſſujetti l’eſpee contraire à la Seconde Inſtance lettre G, au deça du Diametre, ſelon les preceptes & en la forme requiſe. <font style="font-variant:small-caps">Zacharie</font> taſche à luy paſſer circulairement ſa lame, qui eſt aſſujettie par deſſous la garde, pour bleſſer par deſſus le bras. Dont <font style="font-variant:small-caps">Alexandre</font>, qui recognoiſt au Sentiment, qu’elle commence à ſe vouloir deſtacher de la ſienne, la pourſuit vivement avant qu’elle ſe ſoit delivrée, en tournoyant par le bas & en dehors la meſme chemin q’uelle s’en alloit prendre; ce qu’il fait avec le poignet de la main, tournant & graduant ſa pointe un peu devers le Centre de l’eſpee contraire, afin qu’elle ne luy puiſſe eſchapper, juſqu’à tant que les deux eſpees ſoyent conduites en haut en angle obtus; Lors il entre avec le corps eſtendu, le pied gauche devant, en faiſant derechef deſgraduation en aſſujettiſſant l’eſpee contraire, & plantant le meſme pied au deça le Diametre à la lettre Q, menant la charge du corps deſſus ayant le genoil plié, au dedans des perpendiculaires, ainſi qu’il paroit à la figure.
-|- style="font-family: times, serif; vertical-align:top;"
-|This same action can be done, even if Alexander has not yet done more than set his right foot down at the Second Instance, before his left foot has come into place, and the subjugation of his opponent’s blade is but half done. However, in this latter case, one will not have the leisure to set the left foot down at the Second Instance, before one must increase the size of his step, and move in one up motion to the letter Q, keeping in mind all the same particulars as above.
-|Ceſte meſme operation ſe pourra pratiquer, moyennant qu’<font style="font-variant:small-caps">Ale</font>xandre n’ait encor planté que le pied droit à la Seconde Inſtance, avant que le gauche y ſoit arrivé, & que l’aſſujettiſſement ne ſoit qu’à demi fait. Toutsfois en ce dernier cas on n’aura pas le loiſir d’aller planter le pied gauche en terre à la Seconde Inſtance, ains il faudra en aggrandir la demarche, & entrer tout d’un train juſqu’à la lettre Q, en obſervant touſiours le meſmes particularitez que deſſus.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 15'''
-|'''Cercle N.15.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|This is the follow-on from the preceeding action. Alexander momentarily raises his left foot, making little or no forward motion. He leans on it, moves his left side forward, at the same time disengaging his sword, and seizing hold of his opponent’s guard with his left hand, which he pulls towards himself. He puts the tip of his sword on his adversary’s right side, as the figures demonstrate.
-|Voicy une ſuite de l’operation precedente. aſſavoir qu’<font style="font-variant:small-caps">Alexandre</font> eſleve tout à l’inſtant un peu le pied gauche avec peu ou point d’avancement, ſe panchant deſſus, le coſté gauche du corps avancé, en deſtachant au meſme tēps les eſpees, & faiſant prinſe de la garde contraire avec ſa main gauche, laquelle il retire à ſoy, en aſſenant ſa pointe au coſté droit de l’edverſaire; comme les figures demonſtrent.
-|- style="font-family: times, serif; vertical-align:top;"
-|In this action, which proceeds from Circle No 14, where Alexander held his opponent’s blade subjugated with his left foot forward, he follows in Circle No 15 by disengaging the swords while at the same time seizing his opponent’s guard. Note that he could also do the step in with his right foot, and performing the consequent seizure and follow-on without disengaging the blades, as shown in Circles No 2, 3, 4, and 5.
-|En ceſte opration precedente du Cercle 14, où Alexandre tient l’eſpee contraire aſſujettie avec le pied gauche devant; laquelle il a pourſuivie au Cercle 15. en deſtachant les eſpees, & faiſant au meſme temps prinſe de la garde contraire. Notez qu’il peut auſſi pratiquer la meſme intrade avec le pied droit, en faiſant conſequemment la prinſe avec le ſuite annexées ſans quitter les lames en conformié de ce qui eſt repreſenté es Cercles 2. 3. 4. 5.
-|- style="font-family: times, serif; vertical-align:top;"
-|This is similar to Circle No 2, when Alexander had his right foot forward, but in any case, nothing impedes him from following on as from Circle No 14 disengaging his sword, seizing his opponent’s guard, and giving his a thrust in the stomach, as is shown in Circle No 15.
-|Semblable eſt du Cercle N.2. combien qu’Alexandre y ait le pied droit devant, toutesfois rien n’empſche qu’il n’en puiſſe auſſi tirer la ſuite du 14. en deſtachant les eſpees, à faire prinſe, & luy preſenter l’eſtocade à la poitrine; comme il eſt monſtré au Cercle N.15.
-|-
-|
-|
-|- style="font-family: times, serif; vertical-align:top;"
-|The usefulness of seizing the space inside the angle is so obvious, it should require no further proof. Anyone who has entered inside will always have twice the advantage, with regard to timing and distance. For he cannot be hit in a single beat, because he has passed the tip of his opponent’s sword, yet he has not given up the ability to attack however he wishes to. And if his enemy begins to draw back his sword to thrust, he can feel it and wound his enemy before he can pull it far enough, because he is in position, and outside his enemy’s line, and thus has the advantage. Also, note that those who fence in the old style, because they know no better, try to open up the angle, to beat the opposing sword aside. What we do with our sword, they want to do with their left hand. But this is their fault, because, since they always remain face to face against their opponents in a straight line, how is it possible for them to safely open up the angle, when we consider how this is the opposite of the direct line, and cannot happen except when one line crosses the other. This is why they do not know how to engage their enemy’s swords without uncovering their own side at the same time. That is why Alexander always approaches by moving to the side. Because he knows his enemy does not know how to parry the slightest strike without creating an angle. But if he does not create a large enough opening for them, there is nothing that stops him from executing his strike. And if not, he only needs to step inside the angle.
-|L’uſage de ſaiſir les angles eſt ſi manifeſte, qu’il n’en faut pas demander des preuves. Car celuy qui eſt entré dedans, a touſiours double avantage au regard du temps & de la meſure. Dont il ne peut eſtre touché au Premier Inſtant, par ce qu’il a paſſé la pointe contraire, & pourtant il ne laiſſe pas d’avoir la commodité luy meſme de travailler à touts moments, ſi bon luy ſemble. & ſi l’Ennemy commence à vouloir ramener ſa pointe, il a le ſentiment qui l’advertit de le bleſſer au meſme temps avant qu’il en ſoit venu à bout de ſorte qu’il a l’ennemi en preſence, eſtant luy meſme dehors, tant il a d’avantage. Auſſi voit on que ceux qui tirent à la veille mode, à faute de ne ſçavoir mieux, ils taſchent d’ouvrir les angles pour battre l’eſpee contraire. Ce que nous faiſons avec l’eſpee meſme, ils le veulent faire avec la main gauche. mais c’eſt leur faute. car puis qu’ils demeurent touſiours viz à viz de leurs contraires en ce droite ligne, comment leur ſeroit il poſſible de bien ouvrir les angles, conſideré que l’angle ceſt tout le contraire de la ligne droite, & qu’il n’y en a peut avoir, ſinon que l’une des lignes ſoit miſe en travers de l’autre. Et c’eſt la cauſe pourquoy ils ne ſçauroyent engager les eſpees des Ennemis, qu’ils ne ſe deſcouvrent auſſi de leur coſté pareillement. Voilà donc pourquoy Alexandre a fait touſiours ſes approches en allant de travers. Pour ce qu’il ſçait que l’Ennemi ne ſçauroit parer le moindre coup ſans faire angle. Car s’il ne fait point aſſez d’ouverture, il n’y a rien qui l’empeſche de faire l’execution; & ſi au contraire, il ne tient qu’à luy d’entrer dedans l’angle.
-|}
 {{master end}}
- {{master begin
- | title = Book 1 - Tableau / Plate XIII - Defeating or Defending With The Guard Raised High to Protect the Face
- | width = 60em
-}}
-{| class="floated master"
-! Translation by <br/> [[user:Bruce Hearns|Bruce G. Hearns]]
-! Transcription by <br/>[[user:Bruce Hearns|Bruce G. Hearns]]
-|-
-|Colspan="2"|[[file:Thibault L1 Tab 13.jpg|600px]]
-|- style="font-family: times, serif; font-size: 16pt; vertical-align:top;"
-|EXPLANATION OF THE ACTIONS IN THE THIRTEENTH PLATE.
-|DECLARATION DES OPERATIONS DV TABLEAV TREIZIEME.
-|- style="font-family: times, serif; vertical-align:top;"
-|It could be that, instead of presenting his sword in a direct line posture, as was performed by Zachary in the preceeding plates, he changes his approach, and presents to you in the way shown here, in Plate XIII, Circle No 1, not moving far from the same posture, except that he holds his hand a little higher, and his tip little lower. In such a way that he can only see his blade through his guard. In this case, it is inadvisable to try and contact his blade according to the previous instructions, to carry it over and subjugate it at the Second Instance. This is because it would be impossible to do without uncovering the upper part of one’s own body far too much. Which is why, to address the problem of carrying the blade away from this position, refer to the instructions in Plate XIX. For the present, I shall show you how you may thrust against this posture, along his blade, and hit under his arm, where he is the most vulnerable. This is because the shoulder, face, and chest remain covered by the wall made by his guard. Thus, in order to avoid the strong of his blade, and to duly work against the weak, here are the actions Alexander must perform, which, as general principles, will serve you well.
-|Il ſe pourra faire, qu’au lieu de preſenter l’eſpee en droite ligne, comme il a eſté pratiqué par Zacharie aux Tables precedentes, qu’il changera d’avis, & vous la preſentera à la façon qu’il eſt icy pourtrait en ce Tableau XIII. ſur le Cercle N.1. ne s’eſloignant gueres de la meſme poſture, ſinon qu’il tient la main un peu plus haute, pour ſe couvrir le viſage, & la pointe un peu baſſe, en ſorte qu’il ne la puiſſe voir luy meſme, ſi ce n’eſt à travers la garde. En tel cas, il ne ſeroit pas expedient de vouloir trouver ſa lame ſuivant les inſtrućtions precedentes, pour l’emmener & aſſujettir en dedans du bras à la Seconde Inſtance; à cauſe qu’il ſeroit impoſsible de le faire ſans ſe deſouvrir par trop ſoy meſme en la partie ſuperieure du corps. Parquoy s’il eſt queſtion de l’emmener, voyez-en les inſtrućtions au Tableau XIX. Pour le preſent, il  vous ſera monſtré, comment vous luy pourrez tirer ſur ceſte poſture au long de ſa lame un coup de pointe ſous le bras, où il ſe deſcouvre le plus; à raiſon que l’eſpaule, la poitrine, & le viſage luy demeurent couverts du rempart de la garde. Afin d’eviter doncques le fort de ſon eſpee, & pour travailler deuëment ſur le foible, voicy les operations d’Alexandre, qui vous ſerviront de preceptes.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 1'''
-|'''Cercle N.1.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Zachary presents his sword to his opponent with his arm high and his tip low. Against which Alexander approaches with his left foot forward at the First Instance, and covers his opponent’s sword with his guard.''
-|''Zacharie preſente l’eſpee à ſon adverſaire, avec le bras haut & la pointe baſſe; ſur quoy Alexandre s’approche du pied gauche à la Premiere Inſtance, & ſe va pancher en devant ſur le meſme, couvrant la lame contraire avec ſa garde.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Zachary has placed himself in the circle inside his quadrangle, right foot on the circumference at X and left foot on the Pedal Line at Z, body extended upright, and presents his sword at his opponent above the Diameter, with his hand raised up, in such  a way as to cover his face with his guard, allowing his tip to point downwards by bending his wrist, in order to strike at his opponent. Alexander approaches, with his left foot forwards, which he sets down at the First Instance on the letter C, keeping his body leaning backwards, and in one motion, circles his sword over to the inside line, down from an obtuse to an acute angle, then continuing the movement around until he has once again brought it upwards to the right hand side, as he shifts his body over his left foot, and finally allows his thumb to slide off and around under the crossguard so that it raises up. After a brief pause, he allows his blade to drop and leans forward, lifting his trailing right foot for balance, extending his arm so his guard covers the end of his opponent’s blade at the 1st or 2nd Span, crossing a bit above it, as the figures demonstrate.
-|<font style="font-variant:small-caps">Zacharie</font> s’eſtant planté ſur le Cercle dedans ſon Quadrangle, le pied droit à la Circonference lettre X, & le gauche ſur la ligne Pedale Z, le corps eſtendu perpendiculairement, preſente l’eſpee à ſon Contraire, au deſſus du Diametre, avec le bras eſtendu vers le haut, de façon qu’il ſe couvre le viſage de ſa garde, laiſſant deſcendre la pointe vers le bas à l’aide du poignet de la main, pour attendre ſa partie. Là deſſus <font style="font-variant:small-caps">Alexandre</font> s’approche premierement du pied gauche, qu’il plante à la lettre C en Premiere Inſtance, retenant le corps panché à l’envers, & menant par meſme voye l’eſpee circulairement de haut en bas en dedans du bras, d’angle obtus en angle aigu; dont par la continuation de meſme mouvement il la ramene derechef en haut à main droite, en ſe dreſſant le corps ſur le meſme pied gauche, & finalement ſe laiſſe eſcouler le poulce de deſſus la brance interieure de la garde, où il eſtoit affermi, en deſſous, de ſorte qu’elle en vient à ſe dreſſer contrement; laiſſant par ainſi deſcendre ſa lame, & panchant tellement du corps ſur le devant, avec le pied de derriere eſlevé & le bras eſtendu, que de ſa garde il couvre la lame contraire avec un petit arreſt, à 1 ou 2 Nombres tout contre la pointe, la croiſant un peu de biais vers le haut; comme les figures demonſtrent.
-|- style="font-family: times, serif; vertical-align:top;"
-|During the time he is moving his guard above the tip of his opponent’s sword, he should pause briefly, as we said: to always be read to adjust to any action or change his opponent may make while he is performing this move, so, being on guard, he cannot surprise you.
-|Au temps qu’on porte ſa garde par deſſus la pointe contraire, il faut bien adviſer de le faire avec le petit arreſt, que nous venons de dire: & ce pour eſtre touſiours preſt à rencontrer toutes les aćtions, que l’adverſaire pourroit pratiquer durant le meſme temps. autrement il ne faudra pas à nous ſurprendre, ſi nous ne ſommes bien ſur nos gardes.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 2'''
-|'''Cercle N.2.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Alexander continues his action, by making contact with his guard against the tip of his opponent’s sword and sliding it up as he steps in with his right foot a little beyond the letter H, following in so as to raise his left foot up, thrusting along his opponent’s blade under his arm and into his right side.''
-|''Alexandre pourſuit l’operation encommencée, joignant ſa garde au foible & à la pointe de l’eſpee contraire, laquelle il va graduer en entrant avec le pied droit un peu outre la lettre H, à pourſuivre & eſlever tout d’un train le pied gauche en l’air, & luy donner un coup d’eſtocade au coſté droit deſſus le bras par le fil de ſa lame.''
-|- style="font-family: times, serif; vertical-align:top;"
-|Since Zachary is doing nothing more than waiting, Alexander continues with his action, maintaining contact with the tip of his opponent’s blade at the 1st or 2nd Span, trapping it beneath the external branch of his crossguard by sliding the point of contact up the blade.  As he straightens his arm, he lowers his sword-tip, and as moves his right foot forward along the Diameter between the centre and the letter H, he continues to lean forward, raising his left foot into the air, so that he enters into the angle which he has created by turning his opponent’s sword aside to the outside and behind himself with the external branch of his crossguard, which he is using to trap the blade. By the same means, his bladepasses over his opponent’s, and he makes a straight arm thrust into his opponent’s right side, below the armpit, as is shown by the figures.
-|Puis que <font style="font-variant:small-caps">Zacharie</font> ne fait rien que attendre, <font style="font-variant:small-caps">Alexandre</font> commence à pourſuivre l’operation, accouplant par en haut ſa garde à la pointe de l’eſpee contraire à 1 out 2 Nombres, la ſurprennant par deſſous avec ſa branche exterieure, en uſant de graduation, abaiſſe enſemblement ſa pointe avec le bras eſtendu, & avance le pied droit ſur le Diametre entredeux le centre & la lettre H; continuant à ſe pancher en devant avec le corps tout eſtendu, & le pied gauche eſlevé en l’air par la meſme continuation, de ſorte qu’il entre du coſté droit dedans l’angle, qu’il s’eſt ouvert luy meſme, en deſtournant l’eſpee contraire arriere de ſoy en dehors avec l’aide de la branche exterieure, dequoy il la tient enſerrée, & par meſme voye il le bleſſe par deſſus le fil de ſa lame, luy donnant l’eſtocade d’un bras roide au coſté droit deſſous le bras; ſelon qu’il eſt repreſenté en la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 3'''
-|'''Cercle N.3.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|This follows on from the previous, performed by Alexander without pause, by turning his right foot around to the inside, and spinning the other around so his toes come onto the part of the line L-S just beyond the Perpendicular Diameter. He puts his weight on his left foot and leans further backwards, knee and arm bent, continuing to turn his opponent’s blade aside with the exterior branch of his crossguard, and thereby increasing the power of his thrust, as the figures show.
-|Ceſt la continuation de la precedente, pratiquée par <font style="font-variant:small-caps">Alexandre</font>  tout de ſuite ſans perdre temps; en tournant le pied droit à l’envers, & voltant l’autre de meſme à tout les orteils ſur la ſećtion de la ligne LS par delà le Diametre; ſur lequel il ſe va charger & pancher le dos plus outre, le genou plié, & le bras courbé, en continuant à deſtourner la lame contraire encores davantage au moyen de ſa branche exterieure, & augmenter par ainſi la vigueur de ſon eſtocade; comme on le voit repreſenté.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 4'''
-|'''Cercle N.4.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|To end the action, Alexander drives his sword-tip further by entering in, stepping with his right foot to the letter V along the Diameter, where he puts his weight onto it, bending his knee and and increasing the full power of his thrust, forcing it through his opponent’s body, so that the two guards come together, but without releasing the blade, so that he forces the tip down to an acute angle, and, as it appears in the portrait of the figures, forces it backwards towards Zachary’s right foot, who, off-balance, has already raised it into the air.
-|Pour mettre fin à l’execution, <font style="font-variant:small-caps">Alexandre</font> pourſuit ſa pointe à marcher & entrer tout d’une tire avec le pied droit ſur le Diametre lettre V, où il ſe charge deſſus le meſme genou plié, ravivant la vigueur de ſon eſtocade à pleine force, & la pouſſant à travers le corps du Contraire, en ſorte que les deux gardes ſe rencontrent, ſans luy relaſcher pourtant ſa lame, dont il pouſſe la pointe en angle aigu vers le bas, & l’enforce tellement, qu’il le jette à l’envers, comme il appert aut pourtrait des figures, au pied droit de <font style="font-variant:small-caps">Zacharie</font>, eſtant deſia eſlevé en l’air à faute de reſiſtance.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 5'''
-|'''Cercle N.5.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''The two adversaries began by establishing their position at the First Instance on the Circle, in direct line postures. Alexander, having set his blade parallel to and beneath the other, steps and subjugates his opponent’s blade along the Oblique Diameter at the Second Instance. His opponent then raises his extended arm up to an obtuse angle, so that he covers his face with his guard, allowing his sword-tip to drop downwards. From here the same operations proceed, performed by Alexander, up to the end, as described as follows.''
-|''Les deux Contraires s’eſtans preallablement plantez ſur le Cercle à la Premiere Inſtance en droites lignes; Alexandre ayant mis ſa lame parallele au deſſous de l’autre, il marche & aſſujettit le Contraire en deçà le Diametre à la Seconde Inſtance; iceluy hauſſaunt le bras eſtendu en angle obtus, de ſorte qu’il ſe couvre le viſage avec ſa garde, laiſſant deſcendre la pointe à bas; dequoy procedent derechef les meſmes operations, à pratiquer & continuer par Alexandre juſqu’à la finale execution en la maniere qu’il s’enſuit plus particulierement.''
-|- style="font-family: times, serif; vertical-align:top;"
-|After Zachary established his direct line posture in his quadrangel on the Pedal Line Z and presented his sword, Alexander likewise established his position in the opposite Quadrange, right foot along the Circumference at the letter C, his left along his Pedal Line, and brought his sword up parallel to and beneath the other. That done, he then began to perform the actions which lead to this Circle, stepping with his right foot over to the letter G, on the Oblique Diameter at the Second Instance, drawing his left foot up, and subjugating his opponent’s sword. At this instant, his opponent raises his arm up high, covers his face with his guard, and sets his sword-tip low, as the figures demonstrate.
-|Apres que <font style="font-variant:small-caps">Zacharie</font> s’eſt planté ſur le Cercle dedans le Quadrangle Z, preſentant l’eſpee en droite ligne; & qu’<font style="font-variant:small-caps">Alexandre</font> s’eſt planté pareillement alencontre au Quadrangle oppoſite en Premiere Inſtance, le pied droit à la Circonference lettre C, & le gauche ſur la ligne Pedale, portant l’eſpee en droit ligne parallele au deſſous de l’autre. Cela fait il a pourſuivi à pratiquer les aćtions de ce Cercle preſent, marchant avec le pied droit en deçà le Diametre, à la Seconde Inſtance lettre G, à pourſuivre conſequemment du pied gauche, & y aſſujettir l’eſpee de l’adverſaire, qui eſleve à ce meſme inſtant le bras en haut, ſe couvrant le viſage de ſa garde avec la pointe baſſe; comme les figures demonſtrent.
-|- style="font-family: times, serif; vertical-align:top;"
-|Thereupon Alexander performs the actions as in Circles No 2, 3, & 4, as follows.
-|Là deſſus <font style="font-variant:small-caps">Alexandre</font> pourſuit à pratiquer les operations des Cercles N.2.3.4. ſelon qu’il s’enſuit.
-|- style="font-family: times, serif; vertical-align:top;"
-|While Zachary is raising his arm and the guard of his still-subjugated sword to cover his face and before he can finsh this movement, Alexander moves forward and steps with his right foot to the centre of the Circle, and then his left foot raised in the air, he slides the point of contact up the blades, so as to hit his opponent with his sword-tip on the right side, beneath the weapons, keeping in mind all the previous considerations explained in Circle No 2.
-|Durant que <font style="font-variant:small-caps">Zacharie</font> ſe hauſſe le bras & la garde de ſon eſpee qui eſt aſſujettie, pour s’en couvrir le viſage, avant que le mouvement ſoit àchevé, <font style="font-variant:small-caps">Alexandre</font> s’avance & marche avec le pied droit ſur le centre du Cercle, en continuant à eſlever le pied gauche en l’air, & graduer le lames, de façon qu’il atteint l’averſaire d’un coup de pointe au coſté droit deſſous les armes, y obſervant toutes les meſme conſiderations, qui en ont eſté ſpecifiées au Cercle N.2.
-|- style="font-family: times, serif; vertical-align:top;"
-|Now, if Zachary’s movement, that is, to raise the arm and guard, had been completed, Alexander would not have been able to do the same the thing again. But the best and the surest way is to move first.
-|Or combien que le mouvement de <font style="font-variant:small-caps">Zacharie</font>, aſſavoir de hauſſer le bras & la garde euſt eſté conduit à fin, <font style="font-variant:small-caps">Alexandre</font> n’euſt pas laiſſé pourtant de faire encor la meſme choſe; mais c’eſt le meilleur & le plus ſeur de prendre le temps meſme.
-|- style="font-family: times, serif; vertical-align:top;"
-|The follow-up to this action is that Alexander turns instantly about swinging his left foot around his right foot and behind him, a little beyond the letter Q along the Diameter. He leans back onto it, knee bent, and for the rest follows the particulars described in Circle No 3.
-|La ſuite de ceſte operation c’eſt, qu’<font style="font-variant:small-caps">Alexandre</font> ſe volte tout à l’inſtant le pied gauche par derriere & alentour le pied droit, un peu outre la lettre Q par delà le Diametre, ſe panchant à l’envers deſſus le meſme, à tout le genou plié, & obſervant au reſte les particularitez de l’aćtion repreſentée au Cercle N.3.
-|- style="font-family: times, serif; vertical-align:top;"
-|After which he continues on, turning and stepping to the letter W on the circumference, shifting his weight onto that foot and thus he increases the power of his thrust right through his enemy’s body, as done in Circle No 4.
-|Ce qu’eſtant fait, il pourſuit l’operation juſqu’à la Circonference lettre W, où il ſe charge le corps deſſus, & par meſme voye augmente ſon eſtocade à pleine force à travers le corps de l’Ennemi, en conformité du Cercle N.4.
-|- style="font-family: times, serif; vertical-align:top;"
-|When Alexander, as he is portrayed here, has subjugated his opponent’s blade at the same time as his opponent raises his guard to cover his face, he can also enter in with his right foot following the line of the same Interior Collateral from where it was at the letter G, up to the letter Q, following with the left foot, and so wounding his adversary, just the same as before, under the arm by sliding the point of contact up the blades, and, by leaning forward to put himself inside the angle of the sword, which he has trapped and turned away, outside and behind him.
-|Quand <font style="font-variant:small-caps">Ale</font>xandre fait l’aſſujettiſſement, comme il eſt icy pourtrait, au meſme temps que l’Adverſaire ſe hauſſe le bras avec la garde, pour ſe couvrir le viſage, Il peut auſsi entrer avec le pied droit par la trace de la meſme Collaterale interieur, où il eſt planté, juſqu’à la lettre Q, en pourſuivant du pied gauche, & bleſſant ſa partie adverſe, tout de meſme qu’auparavant, deſſous le bras moyennant la graduation des lames, ſe mettant par l’avancement du corps panché, au dedans l’angle de l’eſpee contraire, laquelle il a ſurprinſe & deſtournée en dehors arriere de ſoy.
-|- style="font-family: times, serif; vertical-align:top;"
-|So, after Alexander has successfully performed this action in divers ways, without his adversary discovering a counter to it, notwithstanding that he has done his best to turn the sword aside in several sorts of ways, this said adversary comes to persuade himself that he can do the same to Alexander, as long as he presents the same posture. Thus he requests that Alexander do this, to test the premise.
-|Or apres qu’Alexandre a parachevé ceſte operation à diverſes fois, ſans que l’Adverſaire y ait ſceu donner remede, nonobſtant qu’il ait fait ſon devoir à la divertir en pluſieurs ſortes; ledit Adverſaire ſe va perſuader, qu’il en fera tout le meſme à Alexandre, moyennant qu’il luy preſente ſans plus l’eſpee en la meſme poſture. Dont il le requiert amiablement de ce faire, pour en voir la preuve.
-|- style="font-family: times, serif; vertical-align:top;"
-|Alexander, not wishing to refuse this challenge, adopts the posture in the A-C Quadrangle, right foot on the letter C, left foot on the Pedal Line, holding his sword as was presented to him in Circle No 1. To attack against this, Zachary sets his left foot down at the First Instance on the letter X in the opposing Quadrangle, and consequently will lean forwards raising his left foot in the air behind him, and covering his opponent’s sword from above, as he has seen Alexander do in the aforesaid Circle No 1.
-|Par ainſi donc <font style="font-variant:small-caps">Ale</font>xandre ne le voulant eſconduire, ſe va mettre le premier en poſture ſur le Quadrangle AC, le pied droit à la lettre C, & l’autre ſur la ligne Pedale, tenant l’eſpee tout de meſme, qu’elle avoit eſté preſentée par le Contraire au Cercle N.1. Pour travailler donc alencontre <font style="font-variant:small-caps">Za</font>charie ſe met le pied gauche en Premiere Inſtance à la lettre X au Quadrangle oppoſite, & conſequemment ſe va pancher ſur le devant, en eſlevant le pied de derriere en l’air, & couvrant de par enhaut l’eſpee contraire, cōme il a veu faire à Alexandre audit Cercle N.1.
-|- style="font-family: times, serif; vertical-align:top;"
-|To perform the strike, Zachary advances his right foot, to thrust to Alexander’s side underneath his arm, as we see in Circle No 2. But, at the same time that he drops the tip of his sword underneath the guard and the arm, Alexander, keeping the swords in contact, turns the guard and his arm in a circular motion downwards and outside to the right, allowing his sword-tip to rise up against his opponent, so that he crosses and subjugates his opponent’s sword, and thus interrupts his intent, as is shown in Circle No 6.
-|Pour continuer l’operation <font style="font-variant:small-caps">Za</font>charie s’avance avec le pied droit, pour luy donner l’eſtocde au coſté deſſous les armes, comme on le voit repreſenté au Cercle N.2. mais au meſme temps qu’il luy deſcend ſa pointe ſous la garde & le bras, <font style="font-variant:small-caps">Ale</font>xandre, tenant les eſpees accouplées, ſe tourne circulairement le bras & la garde en dehors à main droite vers le bas, laiſſant monter ſa pointe au contraire, dont il va croiſer & aſſujettir l’eſpee contraire, en ſorte qu’il luy rompt le deſſein, comme il eſt repreſenté au Cercle N.6.
-|- style="font-family: times, serif; vertical-align:top;"
-|After that, he continues a follow on to finish, stepping with his right foot forward along the diameter to E, where he puts his weight against the weak of the blade, hitting with the same thrust to the right side that his opponent intended, as it appears in Circle No 7.
-|Qui plus eſt, Il en fait la pourſuite juſqu’à l’execution, marchant avec le pied droit en avant ſur le Diametre à la lettre E, où il ſe charge le foible, & tirant le meſme coup d’eſtocade au coſté droit de l’Adverſaire, qu’il avoit penſé à tirer ſu luy, comme il appert au Cercle N.7.
-|- style="font-family: times, serif; vertical-align:top;"
-|And so Alexander once again readies himself on the Circle, in the A-C Quadrangle, presenting his sword in the straight-line posture. Zacharie sets himself against him at the First Instance in the opposite Quadrangle, then steps with his right foot to the Second Instance, along the Oblique Diameter, with his toes on the letter S and heel at W, and subjugates Alexander’s sword. Alexander has raised his arm and guard up high, covering his face, so Zachary finds himself in the same situation as Alexander, portrayed in Circle No 5.
-|<font style="font-variant:small-caps">Ale</font>xandre ſe va planter autrefois ſur le Cercle dedans le Quadrangle AC, luy preſentant l’eſpee en droite ligne: <font style="font-variant:small-caps">Za</font>charie ſe met alencontre au Quadrangle oppoſite en Premiere Inſtance avec l’eſpee parallele au deſſous; puis marche avec le pied droit à la Second par delà le Diametre lettre S, pourſuivant à avancer le pied gauche, les orteils ſur le Diametre oblic, & le talon à la lettre W, & aſſujettir l’eſpee d’<font style="font-variant:small-caps">Ale</font>xandre; qui eſleve au meſme temps le bras avec la garde en haut, s’en couvrant le viſage; de façon que <font style="font-variant:small-caps">Za</font>charie s’en retrouve par delà le Diametre en la meſme ſituation qu’Alexandre eſt pourtrait au Cercle N.5.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 6'''
-|'''Cercle N.6.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|''Following the previous described  action, Zachary tries to strike his adversary under the arm, by moving his right foot forward to the centre of the Circle, and spinning his left forward behind him. At which point Alexander breaks his strike, turning his arm and guard to the outside, dropping down and subjugating the sword.''
-|''En ſuite de l’operation dernierement deſcrite Zacharie taſche à frapper l’Adverſaire deſſous le bras, en avançant le pied droit ſur le Centre du Cercle, & voltant le gauche à l’advenant derriere. Dequoy Alexandre luy rompt le coup, ſe tournant le bras & la garde en dehors de haut à bas, de ſorte qu’il luy aſſujettit l’eſpee. ''
-|- style="font-family: times, serif; vertical-align:top;"
-|Thus, Zachary subjugates his opponent’s sword at the Second Instance. At the same time, his adversary raises his arm and guard up to cover his face, sword-tip pointing down. In this way, Zachary works against him, allowing his point to descend, and sliding the point of contact up the swords, advancing his right foot to the centre of the Circle, intending to spin his left foot around behind, and by this motion to wound his opponent from beneath the sword. Because he is doing this close in, that is, at the Second Instance, Alexander moves his left foot a little backwards out of the Quadrangle, where he shifts his weight a little backwards onto it, and drawing his other foot along behind. Without disengaging the blades, Alexander brings his wrist down in a circular motion, while turning his arm and guard to the outside and to the right. Thus he traps and subjugates his opponent’s sword, as shown by the figures.
-|Faiſant donc <font style="font-variant:small-caps">Zacharie</font> l’aſſujettiſſement de l’eſpee contraire à la Seconde Inſtance, & que l’Adverſaire ſe hauſſe au meſme temps le bras avec la garde, dont il ſe couvre le viſage, avec la pointe deſcendante: En ſemblable <font style="font-variant:small-caps">Zacharie</font> travaille au meſme temps alencontre, laiſſant deſcendre ſa pointe, & graduant les lames, en avançant le pied droit juſqu’au Centre du Cercle, avec intention de volter le pied gauche alenvers, & de bleſſer par meſme voye ſon Contraire au coſté droit deſſous les armes. Et puis qu’il fait le tout de fort pres, aſſavoir de la Seconde Inſtance, <font style="font-variant:small-caps">Alexandre</font> ſe retire au meſme temps le pied gauche un peu en arriere au dehors du Quadrangle, où il fait la charge du corps deſſus à pancher vn peu alenvers, & pourſuivre de l’autre pied à l’advenant; enſemble ſe tournant (ſans deſtacher les lames) le bras droit avec la garde de l’eſpee à l’aide du poignet circulairement de haut à bas en dehors & à main droite: dont il enferme & aſſujettit par en haut l’eſpee contraire; enſuivant le pourtrait des figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 7'''
-|'''Cercle N.7.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|Alexander presses his attack, using his wrist to turn his arm together with the interior branch of his crossguard upwards in such a way as to catch and seize his opponent’s blade with the other branch of his crossguard. He then steps forward with his right foot up to the letter E and turns the trapped blade behind him as he slides the point of contact up the blade. He leans onto his right foot, drawing his left foot behind him a little bit forwards. He wounds his adversary with a hit from his sword-tip in the right side underneath the armpit, the very sort of thrust Zachary had thought to do, now turned back on him, as evidenced and demonstrated by the figures.
-|<font style="font-variant:small-caps">Alexandre</font> pourſuit ſon advantage, en tournant le bras, & enſemblement la branche interieure de ſa garde contremont à l’aide du poignet, de façon qu’il accueilt & enferme avec l’autre branche la lame contraire, laquelle il pourſuit à destourner arriere de ſoy, & à graduer en marchant avec le pied droit à lettre E, où il fait la charge du corps deſſus, laiſſant trainer le pied gauche un peu à l’advenant, & bleſſant de meſme ſa partie adverſe d’un coup de pointe au coſté droit deſſous l’aixelle, de ſorte qu l’eſtocade que Zacharie avoit pourpenſée à Alexandre, elle retombe ſur luy meſme; comme il eſt evident par la demonſtration des figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 8'''
-|'''Cercle N.8.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|Zachary again tries to execute the same attack, taking aim at Alexander from the Second Instance, to wound him underneath the arm. Alexander again prevents him, and subjugates his blade, just the same as in Circle No 6 and consequently, having straightened up after leaning backwards, he seizes the sword with the interior branch of his crossguard, sliding the point of contact up the blade, and setting his sword-point precisely in front of Zachary’s eyes, just as the figures show.
-|<font style="font-variant:small-caps">Zacharie</font> taſchant à executer encores la meſme entreprinſe, à tirer ſur Alexandre de la Seconde Inſtance, pour le bleſſer deſſous le bras; <font style="font-variant:small-caps">Alexandre</font> le previent derechef, & luy aſſujettit la lame, tout de meſme qu’au Cercle N.6. & conſequemment s’eſtant redreſsé le corps, qui eſtoit panché un peu en arriere, il la va graduer & enfermer par deſſous avec ſa branche interieure, luy mettant la pointe en courtoiſie devant les yeux; ainſi que les figures demonstrent.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 9'''
-|'''Cercle N.9.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|This is the final step of the preceeding action, performed with determination by Alexander, who steps with his right foot along the Diameter to the letter E, where he leans his body onto it, sliding the point of contact up the swords with his arm extended out straight, so that the two guards crash together and his opponent is forced to bend his arm and allow the raised sword-tip to drive through his head with full force, as is represented by the figures.
-|Ceſt la finale execution de la precedente, pourſuivie en rigueur par Alexandre, à marcher avec le pied droit ſur le Diametre lettre E, où il ſe panche le corps deſſus, en graduant les lames d’un bras roide & eſtendu, de ſorte que les deux gardes ſe rencontrent ſi rudement, que le bras du Contraire en eſt forcé à ſe plier, & laiſſer monter ſa pointe en haut, en recevant le coup à pleine force à travers ſa teſte, comme il eſt repreſenté par leurs figures.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 10'''
-|'''Cercle N.10.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|Here, Zachary makes the same attempt to wound his adversary in the same way as above. Alexander has again subjugated the blade as in Circle No 6, but instead of moving backwards, he has advanced with his right foot along the Diameter at letter E, where he leaned his body over it, inside the angle, and follows by drawing his left foot after him in a circular motion, while disengaging his sword, so that he makes a backwards cut to the right side of his opponent’s head, as is shown in the figures.
-|Voicy <font style="font-variant:small-caps">Zacharie</font> qui a fait encor la meſme preuve, pour bleſſer l’Adverſaire en la meſme ſorte que deſſus: <font style="font-variant:small-caps">Alexandre</font> luy aſſujettit derechef la lame en conformité du Cercle N.6. mais au lieu de reculer, is s’eſt avancé avec le pied droit ſur le Diametre lettre E, où il ſe panche le corps deſſus au dedans de l’angle, pourſuivant à trainer circulairement le pied gauche apres, & deſachant au meſme temps les eſpees, en ſorte qu’il luy donne un coup de revers au coſté droit de la teſte; comme les figures demonſtrent.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 11'''
-|'''Cercle N.11.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|Zachary again wishes to perform the same attack on Alexander underneath the arm, from the Second Instance, but is once again trapped through the same action as in Circle No 6. Then Alexander, having trapped and subjugated his blade, continues to work against him, stepping with his right foot a little outside the Circle, between the letters D & F, following along in a circular motion with his left foot, and sliding the point of contact down the blade towards the tip, by giving a light push downwards with his wrist and lowering his arm, at which point he leaves it there, lifting his own, carrying it over his head with a movement of his elbow, spinning his left foot around behind the other, and exactly striking his adversary’s left ear, as is seen in the figure.
-|<font style="font-variant:small-caps">Zacharie</font> retournant à vouloir donner encore la meſme atteinte à Alexandre deſſous le bras de la Seconde Inſtance, il y eſt derechef attrapé moyennant l’operation du Cercle N.6. dont <font style="font-variant:small-caps">Alexandre</font> luy ayant enfermé & aſſujetti la lame, continue à travailler, en marchant avec le pied droit vn peu au dehors du Cercle entre deux les lettres D & F, pourſuivant circulairement avec le pied gauche, & deſgraduant avec ſa lame devers la pointe contraire, y faiſtant vn petit pouſſement deſſus avec le bras deſcendant & à l’aide du poignet, dequoy il amortit le ſentiment, & au meſme inſtant il en oſte la ſienne, la menant par deſſus ſa teſte par le mouvement du coude, en voltant le pied gauche derriere l’autre, & preſentant en courtoiſie un coup de taille à l’oreille gauche de ſon Adverſaire; comme il ſe voit en la figure.
-|- style="font-family: times, serif; vertical-align:top;"
-|If Alexander had wanted to deliver a more severe blow, he would have spun the left foot around a good deal further, and then added another with his right foot, with which he would have repeated the same blow, again spinning the left foot around, and by this means, have found himself behind his enemy, placing himself entirely out of reach of any danger. But here, he puts his left foot right behind the other in order to control the motion of his body and his sword, so that he can keep the blow precise, which he would not be able to easily do otherwise.
-|Si Alexandre euſt voulu donner le coup en rigueur, il euſt volté le pied gauche un grand pas plus outre, y adjouſtant par apres encor un autre avec le pied droit; dequoy il redoubleroit le meſme coup, en voltant derechef le pied gauche, & par ce moyen viendroit à gaigner le derriere de l’Ennemi, ſe mettant totalement à l’abri de touts dangers: mais qu’il plante icy le pied gauche droitement derriere l’autre, c’eſt pour en moderer la courſe du corps & de l’eſpee, afin qu’il puiſſe retenir le coup en courtoiſie, ce qu’il ne pourroit faire autrement, ſinon à grand peine.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 12'''
-|'''Cercle N.12.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|It is Zachary’s pleasure to once again test the proposition, which is once again nullified by the same action as in Circle No 6. This time Alexander follows up by stepping with his right foot along the Diameter to letter E, and at the same time that leans his upper body forward over it, he lifts his left foot in the air, and seizes his opponent’s hand and guard with his left hand reaching over the crossed swords and pulls it towards him so that his opponent’s sword-tip lowers towards the ground, as is shown by the figure.
-|<font style="font-variant:small-caps">Zacharie</font> ſe plait à repeter encor la meſme preuve, qui luy eſt derechef annullée par la meſme operation du Cercle N.6. dont <font style="font-variant:small-caps">Alexandre</font> pourſuit à travailler en marchant avec le pied droit ſur le Diametre lettre E, où il ſe panche la partie ſuperieure du corps un peu en avant, eſlevant quand & quand le pied gauche en l’air, & faiſant prinſe de la garde contraire avec la main gauche, à porter par deſſus le long des deux lames croiſées, la retirant devers ſoy en ſorte que la pointe contraire s’en abaiſſe devers la terre; comme la figure demonſtre.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 13'''
-|'''Cercle N.13.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|Alexander carries on, by bringing his left foot, already raised in the air, onto the Perpendicular Diameter at the letter M, then right away spins his right foot around behind himself and, setting it down just outside the Circle near the letter W, he leans back on it, and again raising his left foot and stepping towards his adversary on the point Q, he shifts his body forward onto it, bends his knee, and hits his opponent on the right side beneath the arm, driving through his body, as is shown in the figure.
-|<font style="font-variant:small-caps">Alexandre</font> pourſuit l’operation, en menant le pied gauche, qui eſt ià eſlevé, en deça le Diametre à la lettre M, & voltant tout de ſuite le pied droit derriere au dehors du Cercle bien pres de l’W, ſur lequel il ſe va pancher à l’envers, en eſlevant derechef, & cheminant avec le gauche devers l’Adverſaire au point Q, où il ſe charge le corps deſſus en avant à tout le genou plié, luy donnant l’atteinte au coſté droit deſſous le bras & la pouſſant à travers le corps; comme il eſt repreſenté en la figure.
-|- style="font-family: times, serif; vertical-align:top;"
-|Seeing how effectively each time Alexander has parried Zachary’s attempt to strike under his arm, and how he did this in such a way as to control the blade and then confidently made so many effective strikes, Zachary then decides to imitate him, and arranges with Alexander to have him attack with the actions shown in Circles Nos 1, 2, 3, 4, & 5, convinced he cannot fail to perform the same actions, that is, the subjugate, and wound him, in the same various ways that Alexander has done.
-|Voyant donc qu’<font style="font-variant:small-caps">Ale</font>xandre a destourné ſi avantageusement & à tant de fois l’entreprinſe de <font style="font-variant:small-caps">Za</font>charie, qui eſtoit de le bleſſer ſous le bras; de ſorte qu’il luy a gaigné la lame, & en a tiré tant d’executions ſi avantageuſes, meſme qu’il a fait le tout avec ſi grande aſſeurance; Zacharie ſe propoſe de le vouloir imiter, & ſe fait accroire, que ſi Alexandre le vouluſt derechef attaquer avec les operations de Cercles N.1.2.3.4.5. qu’il ne manqueroit pas à luy rendre pareille, c’eſt aſſavoir de l’aſſujettir, & le bleſſer conſequement en telles & ſemblables ſortes, qu’il a veu pratiquer à Alexandre.
-|- style="font-family: times, serif; vertical-align:top;"
-|To arrive at a result, they reset themselves in the direct-line posture on the Circle at the First Instance. And Alexander, who has set his blade beneath the other to perform the subjugation stepping with his right foot to the Second Instance, in the same way, and in the same conditions as Circle No 5. followed by raising his right foot to step and wound his opponent under the arm, as in Circle No 2. So Zachary parries the strike, bringing his blade circularly around his opponent’s to the right hand side to trap it, and subjugate it, as in Circle No 6.
-|Pour en venir à l’effećt, ils ſe vont remettre ſur le Cercle à la Premiere Inſtance en droites lignes. Et <font style="font-variant:small-caps">Ale</font>xandre, qui a mis ſa lame deſſous, à faire l’aſſujettiſſement, en cheminant avec le pied droit à la Seconde Inſtance, en la meſme ſorte, & avec les meſmes circonſtances comme au Cercle N.5. pourſuivant à travailler en eſlevant le pied droit pour bleſſer l’Adverſaire en conformité du Cercle N.2. deſſous le bras. Dont <font style="font-variant:small-caps">Za</font>charie en deſtourne le coup, menant ſa lame circulairement à la main droite alentour de l’eſpee contraire, pour l’enfermer, & aſſujettir comme au Cercle N.6.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 14'''
-|'''Cercle N.14.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|At the same time that Zachary works to drop his arm, intending to cross over and subjugate his opponent’s blade, Alexander moves his raised right foot forward from the Second Instance to the letter Q on the Oblique Diameter, turning his tip around under his opponent’s arm over the blade and drawing his left foot up to the letter H while placing his tip exactly in front of his opponent’s eyes. However quickly Zachary tries to bring his arm and sword back over his opponent’s to defend himself, he is too late. As is shown in the figure.
-|Au meſme temps que <font style="font-variant:small-caps">Zacharie</font> travaille à deſcendre le bras, pour croiſer & aſſujettir la lame contraire; <font style="font-variant:small-caps">Alexandre</font> s’avance avec le pied droit, qui eſtoit eſlevé, de la Seconde Inſtance, en deçà le Diametre à la lettre Q, tournoyant ſa pointe par deſſous le bras contraire au deſſus de la lame, & entrainant le pied gauche à la lettre H, & enſemblement luy preſentant la pointe devant les yeux en courtoiſie. Et combien que <font style="font-variant:small-caps">Zacharie</font> ſe ramene derechef le bras & l’eſpee en haut pour ſe defendre, toutesfois il y vient trop tard; comme on le voit au pourtrait de la figure.
-|- style="font-family: times, serif; font-size: 12pt; vertical-align:top;"
-|'''Circle No 15'''
-|'''Cercle N.15.'''
-|- style="font-family: times, serif; vertical-align:top;"
-|This is the finish, where Alexander extends his arm with the sword, advancing his right foot along the Interior Collateral about as far as the letter V on the Diameter, where he leans onto it, at the same time drawing his left foot up to the letter M on the Perpendicular Diameter, so that the guards smash together with so much force that his opponent’s arm and sword are forced to bend upwards, driving the thrust through the head. As is shown in the figure.
-|C’eſt l’execution de la precedente, où <font style="font-variant:small-caps">Alexandre</font> eſtend le bras avec l‘eſpee, s’avançant le pied droit ſur la ligne collaterale interieure en deçà le Diametre pres la lettre V, où il ſe va pancher deſſus, entrainant quand & quand le pied gauche juſqu’au Diametre perpendiculaire lettre M, dont les gardes ſe rencontrent d’une telle violence, que le bras & l’eſpee contraire en ſont forcez à ſe plier & à monter la pointe en haut, luy pouſſant l’eſtocade à travers la teſte; comme il eſt en la figure.
-|- style="font-family: times, serif; vertical-align:top;"
-|So now Zachary, confused at seeing his plans so frustrated so many times, beaten when he expected to triumph. But because his action was begun at the Second Instance, he begins to suspect that he had perchance begun to work from too close. Thus he requests another chance to start again at the First Instance, as in Circle No 1. This Alexander accords to him and the both set themselves on the Circle in the same way, and Alexander proceeds as in Circle No 2. So Zachary again seeks to subjugate his blade by circling around the arm and guard. Alexander again gets himself out of trouble moving his sword-tip from beneath he arm, and sets it exactly in front of Zacharys face, as in Circle No 14.
-|Voilà maintenant <font style="font-variant:small-caps">Za</font>charie tout confus de ſe voir tant de fois furſtré en ſon entreprinſe, voire qu’il en a eſté vaincu luy meſme au lieu de vaincre. Mais puis que l’operation a eſté commencée à la Seconde Inſtance, il entre en ſoupçon d’avoir travaillé par adventure de trop pres: dont il requiert à recommencer derechef à la Premiere Inſtance, ſuivant le Cercle N.1. Ce qu’Alexandre luy accorde, & ſe vont mettre touts deux ſur le Cercle ſuivant la meſme repreſentation, & <font style="font-variant:small-caps">Ale</font>xandre à pourſuivre comme au Cercle N.2. Dont <font style="font-variant:small-caps">Za</font>charie luy veut derechef aſſujettir la lame par le tour du bras & de la garde. <font style="font-variant:small-caps">Ale</font>xandre luy deſrobbe encor ſa pointe par deſſous le bras, & la luy met en courtoiſie devant le viſage, comme au Cercle N.14.
-|-
-|Colspan="2"|
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-|En ſomme à voir faire à Alexandre l’operation du Cercle N.6. par laquelle il enferme & aſſujettit l’eſpee contraire, il ſemble, qu’il n’y ait rien plus facile. c’eſt pour autant qu’il travaille avec fondement. Et encores que les eſpees ne s’accouplent pas touſiours aux meſmes endroits, & à meſmes Nombres; toutesfois le chois des eſtocades, coups de taille, & prinſes, qui s’en enſuivent, ne depend que de ſa ſeule elećtion; il en prendra librement celle, qui luy viendra le plus à gré. Tout au rebours en ſera il de ces ignorants & hardis entrepreneurs d’imiter temerairement tout ce qu’ils auront veu pratiquer trois ou quatre fois à vn homme adroit & bien fondé: dequoy ils ne peuvent raporter que honte & confuſion, quand il eſt queſtion d’en venir aux preuves, ſe voyants fruſtrez à touts moments de leurs intentions, à faute de ne cognoiſtre pas l’amplitude de ceſte Science, ne combien elle eſt difficle, le temps qu’elle requiert & merite pour l’apprendre, ne l’eſtude qu’il faut apporter à la ſubtilité de ſes demonſtrations. Gents preſomptueux & ridicules; qui n’ayants apprins, que deux ou trois pointilles, ſe ſont accroire, que rien ne leur manque, ſur l’aſſeurance qu’ils ont de faire ſervir à toutes occaſions le peu qu’ils en ſavent; ſans conſiderer la grande eſtendue, voire l’infinité des variations, qui ſe preſentent journellement en la Pratique; par ce que chaſcun a ſa propre maniere à tirer differemment des autres, voire que les heures, les minutes, les inſtants touſiours ſe changent. Dont je puis dire, en faiſant compariſon du bureau, où les debats ſe finiſſent par paroles, avec le parquet où les queſtions ſe terminent par la victoire des armes, que comme les accuſations ſont ſujettes aux exceptions, les exceptions aux repliques, le repliques aux duplications, triplications, & finalement à toutes les Inſtances que la partie adverſe voudra faire; ainſi au fait des armes il n’y a aucun trait tant ordinaire, tant bien examiné, tant priſé, tant ſecret, ne tant admirable, que n’ait ſon contraire; de ſorte qu’il ne faut jamais fier en aucun trait particulier; tout ce qui eſt bon en l’une des occaſions, eſtant faux en l’autre: ſoit aſſailli le mieux du monde, rien n’empeſche qu’il ne ſoit encore mieux defendu. Dont ſi les vulgaires en demeurent eſtonnez, il ne faut pas le trouver eſtrange; attendu que leur pratique, n’eſtant pas fondée en ſcience generale, qui ſoit baſtante à les preparer contre toutes occurrences, il s’enſuit de neceſſité, que les iſſues de leurs entreprinſes dependent en partie du ſort de la Fortune, qui domine par tout, où la Prudence eſt forcloſe.
-|In sum, to see how Alexander does the actions in Circle No 6, by which he captures and subjugates his opponent’s sword, it seems there is nothing easier. This is because he works from a good foundation. And even though the swords do not always make contact in the same place, at the same Spans, nevertheless the choice of thrust, cuts, and holds which follow are entirely his own. He may freely take whichever pleases him. He will completely upend those ignorant or foolhardy imitators who have the temerity to to copy what they have seen done three or four times by a well trained and able man. From which they can gain only a sense of shame and confusion, when they try to test him, and find all their intentions frustrated at every moment, because they do not know the depth of this science, nor how difficult it is, nor the time, well worth the effort, which it requires to learn, nor the amount of study to bring to the subtleties of these examples. Gentlemen both presumptuous and ridiculous, who, having learned but two or three points, convince themselves that they fully understand the techniques, and that they can deal with any situation with the little that they know. They have no consideration of the full expanse, of the infinity of variation which dailly presents itself in training. Because each one has his own way of striking, different from all others, just as each hour, each minute, each instant changes from one to the next. So I can say,  comparing the chamber, where debates are resolved with words, to the promenade where questions are settled with victory in arms, that just as [in logical discourse] arguments are subjected to critiques, critiques to ripostes, ripostes to secondaries, secondaries to tertiaries until all evidence the adversaries wish to examine has been discussed, so in the performance of arms there is no stroke, either ordinary, or well examined, or completely grasped, or so secret, or so amazing, that it does not have a counter. As such one must never be too confident of any particular strike. What is good on one occasion will fail in another. It may be the best attack in the world, but nothing prevents someone from defending against it. It should not be that strange if common fencers are always unsure, given that their training, not being founded on general sciences, should fail to prepare them to face all situations, and so it must follow that much of the result of their workings depends in great measure on fortune, where the path of wisdom is closed to them.
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