Gran Simulacro plate 17
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Void of the right foot.
Contents
Translation
Figure that strikes near the ear with a void of the right foot.
The figure designated as C having the figure marked as B stringered on the outside, and this figure disengaging to strike the figure designated as C in quarta, the same figure marked as C strikes him in the face near the ear outside of his sword with a void of the traversed right foot.
I will never fail to say that if B had been an experienced person he would have disengaged the sword by way of a feint with his body held back somewhat to the rear, and C approaching confidently in order to strike figure B with the void of the traversed right foot, B, meeting the enemyʼs sword on the outside, lowering his point in seconda and passing with the left leg in one same tempo, would strike him in the flank, giving him a grip to his sword hand.
Interpretation
Simple Play
This is the play that is attempting to be conducted in the basic play described in the manual.
Sequence
- The agent begins in third, the patient in second with the sword angled in front of the body, the tip in-line with his left shoulder.
- The agent steps to wide measure, constraining the sword of the patient with a straight line in third on the outside.
- During the tempo of the agent's step, the patient disengages to the inside, staying in second, then rolls to fourth accompanied by a lunge made with an angled step to the inside.
Key Points
- The patient is making an invitation for a straight line attack by offering an angled seconda.
- Why? This position creates the impression of being easily struck through the weak of the sword.
- When performing the disengage cross the line first, close the line second.
- How? Disengage around the opponent's blade while staying in second, this will immediately create a strong false edge line-crossing. Then immediately, or as the opponent continues the attack, close the line by rolling the hand into fourth.
- Why? This order is more deceptive to the opponent and also ensure that the line is constrained as early and efficiently as possible.
- Step strongly into the opponents weapon when you are gaining it.
- Why? Making an angled step towards an opponent's sword decreases the amount of time they have to react to your disengage and brings more of your bodies strength to the engagement.
- This play succeeds if it is done during the tempo of the agent's approach. The basic play described by Capo Ferro begins after the agent has successfully constrained the blade of the patient, thus making it too late for this play to be successful.
Basic Play
Sequence
- Both fencers start IN SUCH-AND-SUCH A MANNER.
- The agent STARTS A FIGHT.
- The patient RESPONDS LIKE IN THE FOLLOWING PICTURE.
- The agent MAYBE DIES OR MAYBE NOT.
Videos
Key Points
- Important elements of form and execution go here.
- Why? Here I could explain why this particular key point is important or why it functions the way it does.
Patient's Error
- What was the mistake made by the patient that allowed them to be wounded by the agent.
Demonstrated Principals
- What does this play demonstrate from the earlier manuscript. References recommended.
Intelligent Play
Sequence
- Both fencers start IN SUCH-AND-SUCH A MANNER.
- The agent STARTS A FIGHT.
- The patient RESPONDS LIKE IN THE FOLLOWING PICTURE.
- The agent FALLS INTO ERROR.
- The patient DELIVERS A WOUND.
Videos
Key Points
- Important elements of form and execution go here.
- Why? Here I could explain why this particular key point is important or why it functions the way it does.
Agent's Error
- What was the mistake made by the agent that allowed them to be wounded by the agent.
Demonstrated Principals
- What does this play demonstrate from the earlier manuscript. References recommended.
See also
- Counter to ANOTHER PLATE?.
- Related in some other way to SOME OTHER PLATE?
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